The Prophet Must Die
by MrBillyD
Summary: The Idol An ancient Aztec Goddess comes to life in Mexico in the 1980's, and demands to be worshiped with human sacrifices.
1. Chapter 1

The Prophet Must Die

In early 1980's Mexico, the Idol of an Ancient Aztec Goddess comes to life, and demands to be worshiped with human sacrifices.

This story contains graphic violence, partial nudity, sex and occasional bad language.

I originally wrote this as a screenplay in the early 1980's, before the fall of Communism and the rise of AIDS, and it reflects certain attitudes that were prevalent at the time. Before I could sell this story, the Communist and Sexual Revolutions both defeated themselves, and the story became outdated, so I put it aside.

Now I believe that enough time has passed, to give the story a recent historical setting.

The Prophet Must Die

By MrBillyD

1. EXT. THE PLAZA OF THE MEXICAN JUNGLE VILLAGE OF TLANTEPIC. DAY.

_Dilapidated adobe houses, with thatched roofs, stand along both sides of a single unpaved street._

_The Plaza is deserted, except for BELTRAN and 2 MEXICAN MEN._

_A sack hangs over the top of a wooden stake, which has been driven into the ground._

_BELTRAN and the 2 MEN stand around the stake._

_Sounds of murmuring come from the houses._

_CUTAWAY TO_

_BUILDING BESIDE THE PLAZA._

_INT. JORGE HENRIQUEZ stands peeking out the doorway._

_CUTBACK TO_

_BELTRAN steps forward, and lowers his weapon._

BELTRAN: (Shout) Why are you all hiding? I have told you we are your friends! You have no reason to fear us!  
The only ones who have anything to fear, are those who would betray us! Like this one!

_One MAN yanks the sack away from the stake, revealing the head of a young woman, stuck on top._

_OFF SCREEN:_

_PEOPLE are gasping with shock._

_CUTAWAY TO_

_JORGE, who looks deeply distressed._

_CUTBACK TO_

_FRAME CLOSE-UP of the head on the stake._

_FREEZE FRAME_

_with the sound of a camera snapping OFF SCREEN._

_2. MOVE BACK, REVEALING IN MATCH-CUT, a photo of the staked head, lying on a desk._

_MOVE FURTHER BACK, REVEALING;_

_INT. NEWSPAPER EDITOR'S OFFICE. DAY. EARLY 1980'S._

_MR. STRATTON is seated behind a desk. CYNTHIA JACOBSEN and PHYLLIS MACKENZIE stand beside the desk. They are both in their mid twenties._

_Historic front pages of the Manhattan Times, hang framed on the wall._

STRATTON: I just got this photograph in the mail from Mexico City.

_STRATTON picks up a sheet of paper._

STRATTON: This came with it. It's in Spanish.

CYNTHIA: I can translate it.

_STRATTON hands the note to CYNTHIA; who peruses it quickly, while PHYLLIS looks at the photo._

PHYLLIS: This is really gross. Do they actually expect us to print it?

STRATTON: Don't worry Phyllis. The Manhattan Times is not the Enquirer.

CYNTHIA: This is better than Enquirer. I think this name should be pronounced "Quah-tlee-quay".

(Read) "This is a picture of the head of Juanita Rujalto Perez. She was killed by members of the Mexican People's Army.

"If you want to learn everything about her death; then please have your reporters Miss Cynthia Jacobsen and Mrs. Phyllis MacKenzie, go to the ruins of the Great Temple in Mexico City, at 10 o'clock in the morning, on February 1st. Coatlicue has given us their names."  
(To STRATTON) Who is "Coatlicue?"

STRATTON: I have no idea who he is, but I know what this is.  
This is an obvious attempt by the C.I.A, to discredit the Mexican People's Army. The Manhattan Times is not gonna fall for it.

CYNTHIA: Do you want Phyllis and I to find out what they're not saying?

STRATTON: I want you to find out who this Coatlicue is, and see if you can tie him in with the C.I.A.

PHYLLIS: I don't know. This is too weird.

PHYLLIS points to the picture.

PHYLLIS: The next time you see us, we might both be looking like that.

FRAME photo of the head on a stake.

CYNTHIA: Phyllis. It's a couple of days in Mexico at the beginning of February. I think it's worth the risk.

3. TRAVELOGUE VIEWS OF MEXICO CITY. DAY.

4. EXCAVATED RUINS OF THE GREAT TEMPLE OF THE AZTECS. DAY.

_JORGE HENRIQUEZ stands on one of the catwalks above the ruins. He looks around at everyone there, searching for someone._

_CYNTHIA and PHYLLIS come onto the catwalk._

_JORGE stares at CYNTHIA_

_CUTAWAY TO_

_JORGE'S P.O.V. CYNTHIA is surrounded by flames. this is a vision that only JORGE sees._

_CUTBACK_

PHYLLIS: Just what the hell were you and that guy you met last night doing?

CYNTHIA: Screwing. I'm a good looking young woman, who came to Mexico and had got laid. Good looking young women do that all the time. You ought to try it yourself while we're here.

PHYLLIS: Forget it. That's okay for you Cynthia. You're single. I've got a three year old daughter, and I'm trying to get back with me ex-husband. I just wouldn't feel right if I got involved like that.

CYNTHIA: There's no law that says you have to. That's not what we're here for anyway.

PHYLLIS: What makes you and Mr. Stratton so sure this is a CIA operation?

CYNTHIA: That's what our flaming liberal readership wants to believe, so we have to toss them this bone.

PHYLLIS: What happens if we have to report that their heroes really did cut that girl's head off?

CYNTHIA: They won't read it in the Manhattan Times.

_CYNTHIA sees JORGE approaching her and PHYLLIS_

CYNTHIA: I think we're about to learn something.

_JORGE comes up to CYNTHIA and PHYLLIS._

JORGE: Perdoneme Miss.

CYNTHIA: Yes sir? Si Senor?

JORGE: My name is Jorge Henriquez. I believe that you have come here at the request of Coatlicue.

PHYLLIS: We've heard the name Coatlicue. Nothing else.

CYNTHIA: Senor Henriquez. I am Cyntnia Jacobsen. She is Phyllis MacKenzie. Do you have anything to tell us?

JORGE: Both of you come with me, and you will learn everything you have to know.

_CYNTHIA and PHYLLIS leave the catwalk with JORGE._

5. OPEN AIR PUBLIC MARKET. DAY.

_There are many narrow aisles crammed with endless amounts of every kind of merchandise imaginable. People are haggling._

_CYNTHIA and PHYLLIS move along, examining the goods, while JORGE walks beside them._

_The three come to a section containing stalls of leather goods._

JORGE: This is the one.

_CYNTHIA and PHYLLIS begin looking over intricately handcrafted belts. The Proprietor, PABLO ZAMORA, comes over to them._

ZAMORA: 5000 pesos Miss.

CYNTHIA puts down the belt.

ZAMORA: 4500 pesos.

CYNTHIA: I don't know.

ZAMORA: 4000 pesos.

JORGE: Perdoneme Senor. Are you Pablo Zamora?

ZAMORA: Si. 3500 pesos.

JORGE: (Quietly) I was told that you know something about the return of Coatlicue.

_ZAMORA stops what he's doing._

ZAMORA: I have heard about the visions. Have you heard anything else?

JORGE: This woman you're haggling with, is the expected Prophet.

CYNTHIA: What!

_ZAMORA looks at CYNTHIA._

ZAMORA: Una NorteAmericana? No hay possible! Usted impostores.

CYNTHIA: What do you mean impostor? How can I be an impostor, when I don't know what you're talking about?

JORGE: You are the one who will show us the location of the Sacred Writings.

CYNTHIA: Sacred Writings?

ZAMORA: Like I said, you are impostores.

JORGE: I saw the sign of the Prophet upon her.

_ZAMORA looks at CYNTHIA._

_ZAMORA'S P.O.V: CYNTHIA is surrounded by flame._

ZAMORA: I was wrong. You are the Prophet of Coatlicue.

CYNTHIA: But I don't know anything about any sacred writings.

JORGE: That's why I brought her to you. You are an important man among the faithful. You are a descendant of the Emperor Moctezuma.

PHYLLIS: What? Moctezuma was one of your ancestors?

ZAMORA: Yes, but that and whatever everyone else pays, will get me a cup of coffee.

JORGE: I thought you might be able to help Miss Jacobsen here find the Sacred Writings.

ZAMORA: I know a Bruja who might help us.

CYNTHIA: "Bruja" Doesn't that mean "Witch".

PHYLLIS: Cynthia. Come here a minute.

_PHYLLIS and CYNTHIA step to the side, where they speak quietly._

PHYLLIS: Forget about the C.I.A. These people are a bunch of weirdos. I bet that Bruja's gonna have two sharp wooden stakes waiting for our heads.

CYNTHIA: We won't be going unarmed.

6. EXT. OLD HOUSE ON A NARROW MEXICO CITY STREET. DAY.

_INT. The house is neat and modestly furnished. There is a display of Pre- Columbian artifacts on a shelf._

_CYNTHIA and PHYLLIS are here; along with JORGE and ZAMORA. The BRUJA, an attractive, mature woman, is also here._

CYNTHIA: I don't know why you people insist that I'm this Prophet of yours.

BRUJA: Many people have seen visions Cynthia. They say that the time has come for the return of our ancient Goddess Coatlicue.

JORGE: There are some Sacred Writings, that were hidden at the time of the Spanish Conquest. The Visions said that the Prophet would show us where they are.

CYNTHIA: How do you know it's me?

JORGE: Coatlicue has given me your name, and at this moment, all three of us see you engulfed in flame.

PHYLLIS: Cynthia. Let's get the hell out of here right now.

CYNTHIA: No. Remember why we're here.

7. SAME LOCATION.

_CYNTHIA is seated at a table. PHYLLIS, JORGE and ZAMORA stand around watching._

_The BRUJA hands a cup to CYNTHIA, who looks at it uneasily._

BRUJA: Don't worry. It won't hurt you. The effects won't last.

CYNTHIA drinks uneasily.

PHYLLIS: You shouldn't have done that.

CYNTHIA: They think I'm their Prophet Phyllis. I might be able to help them.  
We might learn something too.

_PHYLLIS reaches inside her handbag, and keeps her hand there._

_The BRUJA takes the cup from CYNTHIA'S hand._

BRUJA: Now concentrate Cynthia.

ZAMORA: Ask her about the sacred writings.

BRUJA: Think about finding those sacred writings.

CYNTHIA'S P.O.V.

_The features of the room and the PEOPLE become distorted; and start moving about in all directions. The sights and sounds become a distorted swirling chaos._

8. SWIRLING CHAOS.

_Out of the chaos, there emerge the forms of flames, snakes, blood stained daggers, and human skulls. They are accompanied by the sounds of heavy rushing wind, screams, hissings and rattlings, and the sounds of gunfire.  
There is also the sound of drums beating out a staccatto rhythm, and VOICES chanting OFF SCREEN._

VOICES: (Chant) Coatlicue! Coatlicue! Coatlicue! (Continued)

_The swirling chaos slows down, and solidifies into the sight of a street, in the ancient Aztec City of Tenochititlan._

9. ANCIENT AZTEC CITY OF TENOCHTITLAN. DAY.

_AZTEC WARRIORS are battling SPANISH SOLDIERS. A few are lying dead on each side._

10. CITY WATERFRONT. NIGHT.

_A young AZTEC PRIESTESS and another MAIDEN are seated in a canoe beside the wharf. The HIGH PRIEST stands on the wharf above them, holding a large sealed ceramic jar._

_The HIGH PRIEST hands the jar to the PRINCESS, who places it on the bottom of the canoe._

_The PRINCESS and the MAIDEN cover the jar with a heavy blanket._

_Then the PRINCESS and MAIDEN paddle off into the dark, while the HIGH PRIEST watches anxiously._

_11. HIGH ON THE SIDE OF A RUGGED CLIFF. DAY._

_The PRINCESS and the MAIDEN are kneeling on a narrow ledge, beside a niche in the side of the cliff. The sealed jar is beside the PRINCESS._

_The PRINCESS places the jar inside the niche._

_Then with great effort, the PRINCESS and MAIDEN both attempt to push a large stone slab in front of the niche._

_As soon as they have the niche hidden, the MAIDEN loses her footing and falls screaming off the ledge and OUT OF VIEW._

_OFF SCREEN the MAIDEN'S scream continues, as the swirling chaos returns._

_12. SWIRLING CHAOS._

_Out of th chaos, the living IDOL of Coatlicue emerges, filling almost the entire FRAME._

_The IDOL of the Goddess Coatlicue has two enormous snakes, coiling out of its neck, with their closed mouths touching. It wears a necklace consisting of a human skull, hands and hearts. Its skirt is made of writhing serpents, and there are claws on its hands and feet._

_[This is a description of the genuine Idol of Coatlicue, which stands in the Museum of Archeology, in Mexico City. Check photograph in Wikipedia._

_The two large snake heads on top of the IDOL, look into the center of the FRAME, flicking their forked tounges._

VOICES: (Chant) Coatlicue! Coatlicue! Coatlicue! (Continued)

_Both heads of the IDOL speak._

IDOL: (Unison) Do not be afraid. I will return to my faithful people. Your task will be completed. The sacred writings will be restored. The sacrifices will be completed. The Decapitation Dance will be performed; and I will defend my faithful people.  
One of the IDOL'S heads opens its mouth and engulfs the entire FRAME.

HOLD BLACK SILENCE.

13. INT. BACK ROOM, INSIDE BRUJA'S HOUSE.

_CYNTHIA is lying on top of a bed, fully clothed, with PHYLLIS, JORGE, ZAMORA and the BRUJA standing around, looking anxious._

_CYNTHIA wakes up with a gasp, and sits up._

PHYLLIS: Are you okay? Cynthia?

CYNTHIA: Am I back in the real world?

PHYLLIS: Yes. Don't worry. With the noises you were making, I wasn't sure you would be again.

ZAMORA: Pardon me Miss Jacobsen; but did you see where the sacred writings were hidden?

CYNTHIA: Shut the hell up!

_CYNTHIA gets up and leaves the room._

14. INT. FRONT ROOM OF BRUJA'S HOUSE.

_CYNTHIA comes in from the back room, and sits at a table. JORGE, PHYLLIS, ZAMORA and the BRUJA follow her._

PHYLLIS: Take it easy Cynthia. The rest of you take it easy too.

CYNTHIA: You shouldn't have given me that stuff to drink. I went into Hell, and I saw the Devil.

JORGE: What about the sacred writings?

PHYLLIS: Will you people get off her case?

CYNTHIA: They're in Tepoztlan. They're in a jar that's hidden in a niche, in the side of a cliff. Please don't ask me anything else.

JORGE: Tepoztlan? Isn't that just over the mountains to the south?

ZAMORA: I'm sorry Miss Jacobsen, but we have to ask you to come with us to Tepoztlan, and show us the exact spot.

PHYLLIS: Tell them to forget it.

CYNTHIA: No Phyllis. He's right. I am the Prophet of Coatlicue.

JORGE: Cynthia. Did Coatlicue say anything to you?

CYNTHIA: Yes. The Goddess Coatlicue looked straight at me and said;  
"Do not be afraid. I will return to my faithful People.

_JORGE, ZAMORA and the BRUJA look excited._

"Your task will be completed. The sacred writings will be restored. The sacrifices will be completed.

_ZAMORA exchanges a glance with the BRUJA, who points at CYNTHIA, and he nods._

_PHYLLIS notices this and looks disturbed._

"The Decapitation Dance will be performed, and I will defend my faithful People"

PHYLLIS: I told you we were dealing with a bunch of weirdos.

JORGE: No. We're ordinary people. In my village we just want to live our lives without bothering anyone; or having anyone bother us. We're no different than anybody else, excpet that we worship Coatlicue.

ZAMORA: Here in Mexico City, we're just the same.

PHYLLIS: Then what's this business about a Decapitation Dance?

CYNTHIA: Phyllis. These people aren't savages.


	2. Chapter 2

15. TRAVELOGUE VIEWS OF MEXICO CITY. NIGHT.

EXT. PLAZA GARABALDI.

_This is a lively spot, where mariachi bands congregate, and is always filled with crowds of local people. They listen to the various bands, who play different tunes at the same time, filling the air with melodious confusion._

_There are also many food stands, and stalls selling trinkets._

_CYNTHIA, JORGE, PHYLLIS and ZAMORA are strolling around the Plaza._

CYNTHIA: This is really Mexico, isn't it?

ZAMORA: Si. La Plaza Garabaldi. It's like a fiesta here all the time.

_CYNTHIA and JORGE drift off in one direction; while PHYLLIS stays with ZAMORA._

CYNTHIA and JORGE listen to a band performing "Besome Mucho".

JORGE: Do you know what "Besome Mucho" means?

CYNTHIA: (Smile) "Kiss me a lot".

JORGE: Oh that is a very nice idea.

CYNTHIA: Not if you're planning to have me do a decapitation dance, in time to the music.

JORGE: Now don't be worried. We have no intention of doing anything unlawful. We may have some fun with you, but it won't be unlawful.

CYNTHIA: Would Coatlicue object to you having fun with her Prophet?

JORGE: I don't know. Would you object?

CYNTHIA: I'd like to make sure I can trust you first.

CUT TO PHYLLIS AND ZAMORA.

_BELTRAN COMES INTO VIEW. He is very well dressed._

_BELTRAN walks up to ZAMORA._

BELTRAN: Senor Zamora.

ZAMORA: (Very respectful.) Buenos noches Senor Beltran.

BELTRAN: I received a telephone call from our friend the Bruja. She said that you had found the Prophet. A Norte-Americana. Is she the one?

ZAMORA: No Senor. This is her friend Phyllis. The Prophet is over there.

BELTRAN glances at the crowd.

BELTRAN: Good evening Miss.

PHYLLIS: Buenas noches Senor.

BELTRAN: Then the return of Coatlicue is truly at hand.

ZAMORA: It looks like it.

BELTRAN: You know I will give you all the help I possibly can.

ZAMORA: Gracias Senor Beltran. I am truly grateful.

BELTRAN: How long do you thing it will be before it begins?

ZAMORA: In the morning, we are going off to search for the sacred writings.

BELTRAN: In the morning? Then we had better begin making our plans tonight.

ZAMORA: Tonight? I am sorry Phyllis. I should not do such a terrible thing, and leave you alone; but some of the most important things in history are happening. I am needed.

PHYLLIS: Oh I understand. Don't worry. Cynthia and Jorge are right over there, I'll be all right.

ZAMORA: Buenas noches Senorita.

_ZAMORA leaves with BELTRAN, making their way through the crowd._

_CYNTHIA and JORGE come over to PHYLLIS._

CYNTHIA: What happened?

PHYLLIS: He's been forced to stand me up.

_They see ZAMORA and BELTRAN get into a waiting limousine. It drives away._

CYNTHIA: Who was that man?

PHYLLIS: He said his name was a Senor Beltran.

JORGE: Ignacio Beltran.

PHYLLIS: He's interested in the return of Coatlicue. He said he wanted to give all the help he could.

JORGE: Ignacio Beltran is the leader of the men who killed Juanita Perez.

CYNTHIA: What do you know about Juanita Perez?

JORGE: She lived in my village of Tlantepic. Senor Beltran leads a gang of thieves and cuthroats. They've been terrorizing many villages.

Junaita Perez told us to stop being terrorized by the Marxists, and try to get help.

The next day, Senor Beltran came into the village with two of his men. They had the head of Juanita Perez on a stake.

PHYLLIS: And Zamora and that Bruja both want his help.

JORGE: We have to find the Sacred Writings, before Senor Beltran can get his hands on them.

16. MEXICO CITY HOTEL. NIGHT.

INT. HOTEL ROOM.

_CYNTHIA is on the phone. PHYLLIS is listening._

CYNTHIA: He's just telling us the usual crap. You know. The Marxists are nothing but thieves and cutthroats, and he's accusing them of chopping the girl's head off.

(Listens)

Well what I think Mr. Stratton, is that the guy who says this, belongs to a weirdo religious cult, that relies on drug induced visions; So whoever killed the girl, was probably one of them. So good-night Mr. Stratton.

Buenas noches.

_CYNTHIA hangs up._

PHYLLIS: You think they chopped the girl's head off, and you still want to stay with them?

CYNTHIA: That's the only way we'll find a definite connection, between them and the C.I.A. Beside, I can't forget the Sacred Writings. I am the Prophet of Coatlicue.

PHYLLIS: You're kidding! Cynthia, are you sure you're all right?

CYNTHIA: No. It's that thing I saw in the vision. I saw Coatlicue. Coatlicue is a devil. She's waiting for me in Hell, if I don't complete this task.

PHYLLIS: Cynthia you're loosing control and forgetting why we're here.

CYNTHIA: No. We'll find the C.I.A. along with the sacred writings.

17. BUS TRAVELING ALONG THE TOLL ROAD TO CUERNAVACA. DAY.

_INT. JORGE and CYNTHIA are seated together. PHYLLIS sits behind them, listening._

JORGE: We can't let Senor Beltran get his hands on you either. They might try to celebrate the return of the sacred writings, the same way our ancestors did.

CYNTHIA: You mean they might try to make me do the Decapitation Dance?

JORGE: Our ancestors considered it a high honor.

18. EXT. TEPOZTLAN. DAY.

_This is a small town, between two cliffs, about 12 miles east of Cuernavaca._

TOWN PLAZA.

_A rickety second class bus drives up and stops. People get off. Among them are JORGE, CYNTHIA and PHYLLIS._

_CYNTHIA looks up at the surrounding cliffs._

CYNTHIA: It's up there, on the cliff to the north. I'm not sure of the exact spot.

JORGE: Where are the writings? Adonde Coatlicue?

_CYNTHIA points._

CYNTHIA: Up there. That's the spot. As soon as you called on Coatlicue, I knew it.

PHYLLIS: Then you really are the Prophet.

JORGE: But how do we get up there? It looks impossible to reach.

CYNTHIA: No. It's easy.

CYNTHIA, PHYLLIS and JORGE walk down the street to the cliffs.

19. HIGH ON THE SIDE OF A RUGGED CLIFF. DAY.

_This is the same spot where the PRINCESS had been, in the vision._

_JORGE is removing the slab, while CYNTHIA and PHYLLIS stand beside him on the narrow ledge._

JORGE: I can't believe that a woman actually moved this into place alone.

PHYLLIS: I beg your pardon.

CYNTHIA: She had another maiden helping her.

JORGE finally manages to remove the slab from the niche. It slips from his hands, and falls off the ledge.

_OFF SCREEN: Dogs are heard howling in the distance._

_JORGE, CYNTHIA and PHYLLIS all look inside the niche, and see the sealed jar._

CYNTHIA: There it is. Just the way I saw it in my vision.

_JORGE reaches into the niche, carefully putting both hands on the jar._

_PHYLLIS looses her footing for a moment._

_JORGE takes his hands off the jar, and PHYLLIS recovers herself._

CYNTHIA: Careful Phillis. The other maiden fell to her death from this spot.

JORGE: Cynthia. I think that Coatlicue only wants you to touch it. No one will fall if you do.

_CYNTHIA reaches inside the niche, puts her hands on the jar, and carefully removes it._

CYNTHIA: Jorge. As soon as I put my hands on it I knew. Someone's going to die.

20. TEPOZTLAN. DAY.

_CYNTHIA, JORGE and PHYLLIS walk along the street, returning from the cliff. CYNTHIA carries the jar._

_A limousine is parked, with BELTRAN, ZAMORA and the BRUJA standing beside it; waiting for the three, who walk up to them._

ZAMORA: Are the writings in the there?

JORGE: The jar is sealed. We haven't looked inside yet.

ZAMORA: What's the idea of coming down here without us?

CYNTHIA: What's the idea of you planning to use me as a human sacrifice?

ZAMORA: Is that what he told you?

BRUJA: What do you think we are? Locos?

JORGE: I did not lie.

ZAMORA: You want to steal Coatlicue from us Aztecs, and keep her only for your people.

JORGE: Senor Beltran here wants to use Coatlicue, to aid him in his terrorism.

PHYLLIS: I don't know if any of you ought to be trusted.

CYNTHIA: Let's ask Coatlicue.

_CYNTHIA raises the jar._

CYNTHIA: Tell us Coatlicue. I am your Prophet. Which of these people should I trust?

The sound of rattling comes from inside the jar.

_The BRUJA gasps and goes down on her knees, gagging for breath; so do ZAMORA and BELTRAN._

JORGE: It looks like Coatlicue doesn't trust any of you.

_All four tires on the limousine blow out._

JORGE: I think that means she doesn't want you to follow us either.

_JORGE, CYNTHIA and PHYLLIS hurry away down the street._

_ZAMORA, BELTRAN and the BRUJA have caught their breaths. They stand up._

BRUJA: Coatlicue is still our Goddess. We haven't lost yet.

ZAMORA: We just did.

BRUJA: We brought no sacrifice. He is bringing two.

21. EXT. MEXICO CITY AIRPORT. DAY.

_A Mexicana Airline jet roars down the runway and takes off._

22. _EXT. The Mexicana Airline jet flies south over the mountains; passing the crater of snowcapped Mount Popacatepetl, and lands at the Oaxaca (Pronounced: Wa-ha-ka) Airport._

23. EXT. OAXACA AIRPORT. DAY.

_The Mexicana Airline jet stands outside the Terminal. The PASSENGERS are coming down the boarding steps. CYNTHIA, PHYLLIS and JORGE are among them._

PHYLLIS: Hey it's beautiful here! What a place to be, the first week in February!

JORGE: Wait 'til you see my village of Tlantepic.

24. INT. TERMINAL BAGGAGE CLAIM.

_The PASSENGERS are waiting for their luggage, which is coming out on the conveyer belt. A tightly bound cardboard box is also on the conveyer belt. JORGE picks it up and hands it to CYNTHIA who is standing with PHYLLIS._

25. EXT. TERMINAL PARKING LOT.

_CYNTHIA, JORGE and PHYLLIS get into one of the Airport limos; watching with concern as the DRIVER loads the cardboard box into the back with the rest of the luggage._

26. INT. LIMO.

_JORGE, CYNTHIA and PHYLLIS are seated. Another Passenger gets into the limo. He is MIKE._

MIKE: Buenos tardes.

PHYLLIS: Mike? Mike Randolph?

MIKE: Phyllis Kranowski? Of all people to meet in Oaxaca Mexico.

PHYLLIS: Cynthia. Mike and I went to high school together. Mike. This is Cynthia Jacobsen and Jorge Henriquez.

27. _EXT. The limo drives along the road from the Airport, into Oaxaca, through downtown Oaxaca, where it passes a 2nd class bus terminal._

INT. LIMO.

JORGE: That's where we'll get the bus to Tlantepic, tomorrow morning.

CUTAWAY TO

_The cardboard box, in the back of the limo. The sound of rattling comes from inside._

CUTBACK TO

MIKE: Then Phyllis and I can have a nice little high school reunion tonight.

EXT. The limo continues on its way through Oaxaca.

28. TRAVELOGUE VIEWS OF OAXACA. DAY.

29. EXT. SIDEWALK RESTAURANT BY THE MAIN PLAZA. DAY.

_CYNTHIA is seated at a table, having lunch._

_PHYLLIS comes up to the table holding a newspaper._

PHYLLIS: The Manhattan Times has worldwide circulation. This is today's edition. I just bought it over there.

_PHYLLIS sits beside CYNTHIA._

PHYLLIS: Here's the story.

(Read)

"Spokesmen for both the White House and the C.I.A., have denied allegations, that the C.I.A. is involved with a Mexican Religious Cult, which has launched a campaign of terrorism against the Mexican People's Army, a humanitarian organization, which is working for the betterment of local farming communities.

"According to reliable sources, the unnamed terorist cult has recently cut off the head of a young woman, who was working for the Mexican People's Army.

CYNTHIA: "Reliable sources". That's you and me.

PHYLLIS: "Allegations." All you need are allegations. That'll be enough to give our readers a cause to support. That's what we're here for.

CYNTHIA: We need confirmation Phyllis. That's how we'll silence the supporters of the C.I.A.

PHYLLIS: What if it's not there? We really don't know what the hell's gonna happen when we get to Tlantepic.

CYNTHIA: Of course we know. They're gonna chop our heads off and stick them on the ends of sharp wooden stakes.

PHYLLIS: I have no wish to be a phallic symbol.

CYNTHIA: Relax. They're not gonna hurt the Prophet of Coatlicue.

PHYLLIS: You don't know that. How much do you trust Coatlicue?

CYNTHIA: We won't be going unarmed.


	3. Chapter 3

30. OAXACA. NIGHT. 

_EXT. TERRACE OF THE HOTEL VICTORIA._

_PHYLLIS is on the terrace with MIKE._

_OFF SCREEN the melody "Cuando Caliente del Sol" is being performed._

MIKE: Do you know what "Cuando Caliente Del Sol" means?

PHYLLIS: (Listen) "When the sun is very hot, here on the beach?

MIKE: Yes. Something is lost in the translation.

PHYLLIS: What a place. What a night. What a place for a reunion. We never had it this good, when we were dating.

MIKE: I know what you mean. The Route 58 Drive-In was never like this.

_MIKE puts his arm around PHYLLIS._

PHYLLIS: Wait a minute Mike. It was a long time ago. We're not a couple of horny high school kids any more. You're no longer the class stud, and I'm not an easy to lay cheerleader anymore either.

MIKE: Phyllis. We're only gonna be her for a couple of days, so there's no time to waste, playing hard to get.

PHYLLIS: I'm not playing... Oh what the hell.

_MIKE and PHYLLIS smile at each other, and go into each other's arms._

31. INT. RESTAURANT. NIGHT.

_INT. CYNTHIA and JORGE are seated at a table with MIKE and PHYLLIS._

JORGE: So how do you like Mexico so far Mike?

MIKE: Muy hermosa.

JORGE: (Correcting) "Bonita.

MIKE: "Bonita"? Tonight I'm liking it more than ever. I think I'd like to take that trip down to Tlantepic with you tomorrow.

_CYNTHIA shakes her head at PHYLLIS._

32. INT. LADIES ROOM.

_CYNTHIA and PHYLLIS stand in front of the mirror._

CYNTHIA: We can't have Mike coming with us. It could be even more dangerous for him, than it is for us. See if you can do something to keep him here.

PHYLLIS: Keep him here? You don't think I'm gonna let you go off to Tlantepic alone, do you?

CYNTHIA: We've got to think of something that'll make him lose interest. Kicking a guy out of bed always works for me.

33. OAXACA. NIGHT.

_INT. HOTEL ROOM. DARK._

_PHYLLIS and MIKE are together in bed, under the covers._

PHYLLIS: This is a definite improvement over the backseat of your car, at the route 58 Drive In.

MIKE: So are you.

PHYLLIS: Let's not go with Cynthia and Jorge tomorrow. They're gonna be gone all day.

MIKE: We can visit the local Ruins in the morning, and be back here in time for siesta.

PHYLLIS: Excellent idea.

34. OAXACA. MORNING.

_A 2nd class bus leaves the Terminal and heads south out of town._

_35. ALONG THE TWO LANE HIGHWAY. DAY._

_The dilapidated 2nd class bus is slowly traveling along._

_INT. BUS. The bus is crowded with poorly dressed MEXICANS, many of whom are carrying baskets of vegetables, and chickens._

_CYNTHIA and PHYLLIS are seated together, sweating in the heat, wearing shorts and halters._

_JORGE is standing in the crowded aisle, near the rear of the bus. He is too far from CYNTHIA and PHYLLIS, to hear their conversation._

_CYNTHIA reads a copy of the Manhattan Times._

CYNTHIA: (Read) "Presidential Candidate Senator Edward Keegan has denounced the Administration, for its reported covert support of terrorist activities, directed against a Mexican social reform movement.

"In an enthusiastically received address, before the Annual Convention of the National Federation of Christian Churches, Keegan dismissed Administration denials as 'The usual cover-up"

PHYLLIS: See. They already believe it.

CYNTHIA: He's preaching to the already converted. He needs the confirmation, to convince the uncommitted.

PHYLLIS: So you and I are the ones who will get Eddie Keegan elected President.

CYNTHIA: Of course not. We'll just be giving him a little extra help, if we can find the link to the C.I.A.

PHYLLIS: Then I don't feel so bad about standing up Mike Randolph.

CYNTHIA: You're both better off. He's not putting himself in danger; and you're not complicating things with your ex-husband.

PHYLLIS: Sometimes I really hate this job.

36. NARROW DIRT ROAD THROUGH JUNGLE. DAY.

_The 2nd class bus is slowly moving along the deeply rutted dusty road._

_The bus stops beside a kilometer marker. No habitation is in sight._

_JORGE gets off the bus, with CYNTHIA and PHYLLIS, who carry overnight bags. CYNTHIA also carries the cardboard box._

_The bus goes on its way along the jungle road, and OUT OF VIEW._

CYNTHIA: Jorge. Just where the hell are we?

JORGE: We are as close as the road comes to Tlantepic. We have to walk from here.

PHYLLIS: Just how far?

JORGE: About 5 kilometros.

PHYLLIS: 5 kilometers in this heat?

JORGE: It's cooler under the trees.

CYNTHIA: Actually that's just about 3 miles.

PHYLLIS: Well whoop-dee-do. 3 miles through the jungle. Quicksand. Tarantulas. Boa constrictors. Lions, and tigers and bears on my.

JORGE: Phyllis it's not that bad. There will be nice cold cerveza when we get there.

PHYLLIS: If we get there.

CYNTHIA: Like it or not, we can't stay here.

_JORGE, CYNTHIA and PHYLLIS enter the jungle, carrying their bags along a narrow trail. CYNTHIA also carries the cardboard box._

_37. JUNGLE TRAIL. DAY._

_JORGE is a little distance ahead of CYNTHIA and PHYLLIS, as they carry the bags and the cardboard box along the trail._

PHYLLIS: We're gonna have three miles between us and the road, and another 50 to the next village.

CYNTHIA: That means we're finally gonna learn something.

38. END OF THE TRAIL. DAY.

_JORGE emerges from the jungle. He waits as CYNTHIA and PHYLLIS also emerge, and stand beside him._

_They are standing at the entrance to the village of Tlantepic._

_39. VILLAGE OF TLANTEPIC. DAY._

_A broad unpaved street stretches a few hundred yards to a Plaza. Dilapidated adobe houses, stand along both sides of the street, where a few poorly dressed VILLAGERS are seen._

_JORGE, CYNTHIA and PHYLLIS begin walking along the street, under the mid-day sun. VILLAGERS come to their doorways, watching them silently._

_MEN and WOMEN in threadbare clothing follow them, looking suspicious and even hostile._

_There are pigs and sleeping dogs, and chickens in the street. Some of the MEN are carrying machetes._

_There is a soft murmuring among the VILLAGERS._

VILLAGER: La Propheta.

_More VILLAGERS are following. As the murmurs are repeated, they look even more hostile._

CYNTHIA: Are they the descendants of the people of Moctezuma?

JORGE: Nosotros hijos de la Chingada.

PHYLLIS: What?

CYNTHIA: They're all sons of the raped woman.

_JORGE, CYNTHIA and PHYLLIS continue moving down the street, with the hostile looking MEN and WOMEN watching them._

_40. TLANTEPIC TOWN PLAZA. DAY._

_This is a large open area at the end of the street. An abandoned, crumbling Church stands facing back down the street._

_There are a few shops around the Plaza. One has a few broken old tables and chairs standing outside, beneath a tattered umbrella._

_JORGE, CYNTHIA and PHYLLIS come into the Plaza, with the hostile looking MEN and WOMEN following them at a distance._

_JORGE brings CYNTHIA and PHYLLIS over to one of the tables, where they sit, putting down their bags and the cardboard box._

_A MAN comes out of the shop, and just looks at them._

JORGE: Tres cervezas, por favor.

_The MAN goes back inside the shop._

_More VILLAGERS are gathering; looking at CYNTHIA and PHYLLIS with hostility._

JORGE: I want to speak to them.

PHYLLIS: Please do.

_JORGE gets up, goes over to the VILLAGERS, and speaks quietly with a few of them. They keep casting uneasy glances at CYNTHIA and PHYLLIS._

_JORGE returns to the table, accompanied by about a half dozen uneasy looking VILLAGERS._

JORGE: Cynthia. They want to see the jar with the sacred writings.

_CYNTHIA reaches into the cardboard box, which is at her feet. The box is stuffed with crumpled newspapers. She reaches through the newspapers, and lifts out the jar, which she places on the table._

_There are murmurs of awe from the VILLAGERS, who all crowd around the table._

MAN: Ella La Profeta?

JORGE: Si. Miss Cynthia Jacobsen. She is the expected Prophet; who will officially restore the sacred writings to us, during the ceremony tonight.

_There are more hostile murmurs from the VILLAGERS._

MAN: No. Ellas estranas.

JORGE: (To CYNTHIA) They don't want any strangers to attend the ceremony.

PHYLLIS: Why not? Are you planning to sacrifice a virgin?

_The murmuring stops. EVERYONE is silent._

JORGE: No. (Pause) Not a virgin.

_PHYLLIS reaches into her handbag, and takes out a pistol._

_The VILLAGERS all step back._

JORGE: Ay! Put that away please. I was just joking.

_JORGE begins to laugh; so do the VILLAGERS._

JORGE: The real reason they don't want strangers to attend, is that they are afraid you will laugh at us.

CYNTHIA: I am the Prophet of Coatlicue. Why would I laugh?

JORGE: You see. When we worship Coatlicue, the men and the women are all naked above the waist. They think that if strangers see it, they will laugh at us.

_PHYLLIS puts her pistol away._

PHYLLIS: Sorry about that folks.

CYNTHIA: Look. I'm the one who Coatlicue chose. If Coatlicue can trust me, so can all of you.

_Some of the VILLAGERS nod to each other._

CYNTHIA: Phyllis and I will both attend the ceremony bare breasted, like the rest of the women.

PHYLLIS: We will?

CYNTHIA: We won't learn a thing, unless we can convince them, that they can trust us.

_In the background, a few firecrackers are shot off._

_PHYLLIS reaches into her handbag._

JORGE: Relax. It is the beginning of the Fiesta, to celebrate the return of the sacred writings.

41. TOWN PLAZA. LATE AFTERNOON.

_A portable tape player plays traditional Mexican melodies. The VILLAGERS are singing, dancing, drinking and laughing._

_JORGE is still at the table, with CYNTHIA and PHYLLIS. There are many empty beer bottles on the table._

_YOLANDA, who is in her late teens, COMES INTO VIEW. She stands near the table, looking at CYNTHIA and PHYLLIS with hostility._

YOLANDA: Jorge!

JORGE: Hola Yolanda!

YOLANDA: Hey la Profeta?

JORGE: Si. Ella Profeta de Coatlicue.

YOLANDA: La Profeta Puta.

CYNTHIA: That girl ought to watch her mouth.

_JORGE goes over to YOLANDA._

_YOLANDA goes into JORGE'S arms. She kisses him heavily; pushing her breasts up against him, and grabs him between the legs._

_YOLANDA then moves back, thrusts the back of two fingers up toward CYNTHIA; kisses them and blows in her direction._

_CYNTHIA thrusts her arm upward into her hand._

CYNTHIA: Yeah, fuck you too girl.

_YOLANDA laughs, grabbing JORGE by the arm and hurries away with him OUT OF VIEW._

PHYLLIS: Even the Prophet of Coatlicue, is no match for the girl next door.

42. VILLAGE PLAZA. SUNSET.

_The Fiesta continues._

_CYNTHIA and PHYLLIS are still at the table, with shot glasses, salt, limes and a bottle of tequila in front of them._

_CYNTHIA pours tequila into each of their glasses._

PHYLLIS: Aren't we supposed to be looking for the connection to the C.I.A?

CYNTHIA: Not 24 hours a day.

_CYNTHIA presses a lime into salt, puts it to her mouth and sucks it in. Then she takes a shot of tequila._

CYNTHIA: We're working under cover. Fucking them under the covers.

_PHYLLIS presses another lime into salt, and sucks it in._

PHYLLIS: Fuck the girl next door.

_PHYLLIS drinks her shot of tequila._

CYNTHIA: I think Jorge's taking care of that.

Fuck this business!

PHYLLIS: Fuck these assignments!

CYNTHIA: Fuck Mr. Stratton!

PHYLLIS: (Hesitates) That's a disgusting idea.

CYNTHIA: Fuck your ex-husband!

PHYLLIS: That's a much better idea. I'll introduce you when we get back.

CYNTHIA: Fuck Jorge!

PHYLLIS: I wouldn't mind that.

Fuck Tlantepic!

CYNTHIA: Fuck Coatlicue!

_Two village men, ESTABAN AND MIGUEL, COME INTO VIEW. They walk up to CYNTHIA and PHYLLIS._

ESTABAN: Do you hear what these women are saying? They are saying "foqifoqi.

MIGUEL: I think that means they want to make foqifoqi.

PHYLLIS: Oh is that what you call it? "Making fucky-fucky?" Sounds cute, and a lot nicer.

ESTABAN: Buenas tardes senoritas. I am Estaban. He is Miguel. Would you like us to be your acompanares, during the Fiesta?

CYNTHIA: Si. Nos muchas buenas foqifoqi.

PHYLLIS: What'd you say?

CYNTHIA: I told him we're both very good at making fucky fucky.

PHYLLIS: Yeah. Okay. Why not? This Fiesta won't last long, so there's no time to waste.

_ESTABAN sits beside CYNTHIA. MIGUEL sits with PHYLLIS._

_43. VILLAGE PLAZA. DARK._

_CYNTHIA is seated with ESTABAN. PHYLLIS is with MIGUEL._

_A GUITARIST serenades them, singing "Cucurucucu"._

PHYLLIS: "Cucurucucu?

CYNTHIA: It's the song of the rooster.

PHYLLIS: Right. Fits the situation.

44. VILLAGE PLAZA. DARK.

_All the VILLAGERS are in front of the abandoned, crumbling Church; facing the building._

_A MAN is beating a drum, the same staccato rhythm that was heard during CYNTHIA'S vision._

_All the MEN and WOMEN are bare above the waist; including CYNTHIA, who is holding the jar, and PHYLLIS, who stands beside her._

_JORGE points to CYNTHIA._

_CYNTHIA steps forward, carrying the jar with both hands. She walks slowly toward the abandoned Church's steps._

_When CYNTHIA reaches the steps, she kneels down, and places the jar, a full arm's length back from the top step._

_Then CYNTHIA stands and backs away as the drumming continues._

_The sound of rattling comes from the jar, which shatters loudly._

_The drumming stops._

_A foot tall living IDOL of Coatlicue stands on the top step, among the shards of the shattered jar._

JORGE: Coatlicue has returned to us, just as she promised!

VILLAGERS: Viva Coatlicue! Viva! Viva!

CYNTHIA & PHYLLIS: Viva Coatlicue! Viva! Viva!

JORGE: And she has delivered our enemies into our hands.

JORGE is pointing at CYNTHIA and PHYLLIS.


	4. Chapter 4

PHYLLIS "Enemies"?

JORGE: You are our worst enemies in the world! Even worse than Senor Beltran!

_A VILLAGER hands a copy of the Manhattan Times to JORGE._

JORGE: This is the newspaper you both write for. You are writing lies about us. You are accusing us, of doing the things that Senor Beltran's people did. You have even accused us of being the ones who murdered Juanita Perez;

And you know they are lies! You two are turning the whole world against us. It says here that television actors and movie stars are planning to raise money, in support of Senor Beltran's Organization.

CYNTHIA: Jorge. Neither Phyllis or I wrote that article.

PHYLLIS: We've both come looking for the truth.

_The sound of hissing and rattling comes from the IDOL._

_The DRUMMER resumes beating out the same rhythm._

VILLAGERS (Chant) Coatlicue! Coatlicue! Coatlicue! (Continued)

_The IDOL begins to grow, as the drumming and chanting continues. Soon it reaches the full 8-foot height, of the genuine one in the Museum, and continues to grow until it's double in size._

_The sound of loud rattling and hissing comes from the IDOL; drowning out the drumming and chanting, which ceases._

_The two enormous snake heads, on top of the IDOL look over the crowd. Then both heads open their mouths and speak._

IDOL: (Unison) Do not be afraid. I have returned to my faithful people. The sacrifices will be completed.

_The VILLAGERS all turn and look at CYNTHIA and PHYLLIS._

PHYLLIS: Our pistols are still at the table.

_The two enormous snake heads are staring straight at PHYLLIS._

_PHYLLIS gasps, and begins to walk forward._

CYNTHIA: No Phyllis! Come back! Don't go any closer! Turn your head away!

_PHYLLIS cannot turn away from the IDOL'S serpent faces. She walks up, and stands within striking distance of the IDOL._

PHYLLIS: Please listen Coatlicue. We haven't come to hurt your people. We believe that they are involved with an evil organization, named C.I.A., which only harms people like them to keep the rich and corrupt in power.

JORGE: Your newspaper is rich, and you are corrupt!

PHYLLIS: We have to do whatever is necessary to stop them, even resorting to lies and trickery like they do.

_One of the serpents on the IDOL'S skirt springs forward, and bites PHYLLIS._

_PHYLLIS begins to shake and gasp for breath. Then she collapses in front of the IDOL._

JORGE: Coatlicue has chosen our Sacrifice!

CYNTHIA: No! Not Phyllis! No!

_ESTABAN and MIGUEL come through the crowd, carrying a wooden table and a large kitchen knife._

_ESTABAN and MIGUEL place the table on the ground, in front of the IDOL._

_Then ESTABAN and MIGUEL pick up the trembling PHYLLIS. They place her on her back, atop the table._

CYNTHIA: Stop it!

_JORGE walks up to the table. ESTABAN hands him the kitchen knife._

_CYNTHIA runs over to the shop, to the table beneath the umbrella. She picks up her handbag, and begins searching through it._

_YOLANDA stands beside CYNTHIA holding a pistol._

YOLANDA: Is this what you are searching for? We have hers too.

_A MAN comes over beside YOLANDA. She hands the pistol to him and they both drift away from CYNTHIA._

_In front of the living IDOL, the VILLAGERS are all standing around the table, continuing to chant._

_A few MEN and WOMEN are gripping PHYLLIS' arms and legs, as JORGE stands above her, holding the knife._

_JORGE raises the knife high, and brings it down._

_CUTAWAY TO CYNTHIA, who watches from a distance, as PHYLLIS' screams rise above the chanting OFF SCREEN._

_PHYLLIS' screams abruptly stop._

_CUTBACK: JORGE raises PHYLLIS' still beating heart, up in front of the IDOL'S enormous heads._

_One of the IDOL'S heads bites the heart out of JORGE'S hand and swallows it._

JORGE: Coatlicue has accepted our sacrifice!

_The VILLAGERS all cheer._

_The Fiesta goes on as before. The VILLAGERS drift away from the table, as they resume singing, dancing, drinking and laughing._

_CYNTHIA now sees PHYLLIS' dead body for the first time. Her head is missing._

_CYNTHIA turns and begins to run._

_YOLANDA blocks CYNTHIA'S way, this time holding a knife._

_CYNTHIA grabs YOLANDA, and they begin to fight._

_MEN and WOMEN gather around, cheering them on, calling for blood._

_After a heavy struggle, YOLANDA has CYNTHIA subdued, with the knife blade against her throat._

VILLAGERS: Mate! Mate! Kill her! Kill her!

_ESTABAN COMES INTO VIEW. He grabs YOLANDA'S knife hand, and pulls it away from CYNTHIA'S throat._

ESTABAN: That is not for you to do.

_ESTABAN takes the knife away from YOLANDA. Then he goes OUT OF VIEW._

_YOLANDA stands._

YOLANDA: (To CYNTHIA) Puta!

_CYNTHIA stands, as the VILLAGERS disperse._

_In the middle of the Plaza, CYNTHIA sees a waist high stake, driven into the ground, with PHYLLIS' head stuck on top._

_A MAN and a WOMAN stand on either side of the stake._

_The tape player begins playing the traditional melody, while the MAN and WOMAN perform the Mexican Hat Dance, around the stake with PHYLLIS'S head._

_As the dance goes on, a few MEN gather around CYNTHIA. MIGUEL is among them._

_The MEN grab CYNTHIA, picking her up, and carrying her screaming and struggling across the plaza, toward the table._

_The MEN force CYNTHIA onto her back, atop the table. She sees PHYLLIS' headless body lying on the ground beside it._

_All the VILLAGERS gather around the table._

_Both MEN and WOMEN hold CYNTHIA down, as MIGUEL stands beside her._

_CYNTHIA continues struggling, as the DANCING COUPLE continues performing to the music._

_A knife is handed to MIGUEL._

_CYNTHIA breaks her arm free and grabs the knife. Then she stabs MIGUEL, killing him. The blade breaks off, as he collapses._

_The table topples sideways and collapses, spilling CYNTHIA onto the ground, atop MIGUEL'S body._

_CYNTHIA stands up._

_The MEN and WOMEN stand around, watching CYNTHIA._

_The sound of loud rattling again comes from the IDOL._

_Everybody quiets down._

IDOL: The Decapitation Dance will be performed; and I will defend my faithful people.

_JORGE COMES INTO VIEW carrying a machete. He walks up to CYNTHIA._

CYNTHIA: Jorge. You've all had your fun, with the Prophet of Coatlicue, but

now it's over; So you might as well kill me right now. I'm not doing that Dance.

JORGE: You are not fit to do the Decapitation Dance. It is to be performed only by faithful worshipers of Coatlicue, which you are not.

_7 TEENAGE GIRLS including YOLANDA, COME INTO VIEW, wearing long flowing, brightly colored skirts, hanging to their ankles._

CYNTHIA: You're gonna chop all their heads off?

JORGE: No. Only one. They dance out of gratitude, for the return of Coatlicue, and for your defeat.

_YOLANDA and the 6 GIRLS form a line in front of the IDOL, and kneel before it with their heads bowed._

JORGE: Cynthia. Go on over and place your hand on the head of each girl. That will show that you have chosen the one who is sacrificed, to be your substitute.

CYNTHIA: No. Please don't ask me to do that.

JORGE: If you don't, more than one will have to die.

_CYNTHIA walks up behind the line of TEENAGE GIRLS. She walks behind them, placing her hand on each GIRL'S bowed head._

_When CYNTHIA has finished placing her hand on their heads, ESTABAN walks up to her, carrying the knife which he took away from YOLANDA. ESTABAN grips CYNTHIA'S upper arm, and brings her back among the VILLAGERS._

_Now JORGE walks forward carrying the machete, and kneels beside YOLANDA. He stretches his arms forward, holding the handle of the machete in one hand and the tip of the blade in the other._

_JORGE and the GIRLS all stand._

_JORGE moves behind the line of girls, all facing the IDOL._

_CYNTHIA calls out from the crowd._

CYNTHIA: Jorge! Stop it! You know this isn't right!

_JORGE and the GIRLS turn to face CYNTHIA, looking annoyed._

JORGE: Silencio! Your task is finished! Just stand there and be quiet!

_ESTABAN still grips CYNTHIA'S arm tightly, while holding the knife._

JORGE: Make sure she doesn't try to interfere!

_ESTABAN stabs CYNTHIA in the breast._

_CYNTHIA cries out for a moment._

ESTABAN: She won't!

CYNTHIA collapses.

_The VILLAGERS laugh and cheer._

YOLANDA: Comenzar!

The tape player is turned on. A recording of "La Bamba" is played.

_The GIRLS begin to dance. They form into a circle around JORGE. They do a traditional Mexican foot stamping, hand clapping, whirling dance, with great enthusiasm. They dance from side to side, forward and back, whirling about rapidly, so that their skirts flare out horizontally; while they and the VILLAGERS shout "Ole!"_

_JORGE raises the machete. Then he lowers it, touching each Dancing GIRL on both shoulders. They continue dancing without losing a beat._

_JORGE raises the machete again. Then he touches one of YOLANDA'S shoulders with the blade. She continues dancing without losing a beat. He touches her other shoulder, and she still doesn't lose a beat. He draws the machete back sideways._

_GROUND SHOT looking straight up along the entire length of YOLANDA'S body, as she whirls about, with her flaring skirt filling the entire FRAME._

_OFF SCREEN there is the sound of a swish and a loud wet chop._

_CUTBACK: The headless body, of the GIRL on YOLANDA'S right collapses, with a stream of blood spurting from her neck stump._

_A skyrocket is shot off; and fireworks light up the sky, as GIRLS continue dancing._

_CUTAWAY TO CYNTHIA, who is lying limp where she collapsed._

_CLOSE UP OF CYNTHIA'S FACE. Her eyes are open._

_CYNTHIA'S P.O.V. sees the dancing quickly FADE TO BLACK SILENCE._


	5. Chapter 5

45._ BLACK SILENCE._

_CYNTHIA'S P.O.V. Formless black shadows drift across very dark empty gray._

_CYNTHIA'S P.O.V. MOVES FORWARD through the darkness, which is gradually illuminated by a dim flickering firelight from below._

_The illumination reveals a framework of crosses, standing atop one another, stretching out, both horizontally and vertically, toward infinity._

_P.O.V. MOVES up to and then into the framework, REVEALING crucified MEN, WOMEN and CHILDREN; each one nailed to a cross._

_P.O.V. MOVES RAPIDLY, passing a multitude of crucified PEOPLE, dressed in diverse garments, from all times and places in history._

_P.O.V. slows down, and stops in front of an empty cross._

_FRAME: A placard nailed above the crossbeams, displaying the name, "CYNTHIA JACOBSON."_

_OFF SCREEN CYNTHIA screams in horror and agony._

_MOVE BACK REVEALING CYNTHIA nailed to the cross, with spikes through her wrists and ankles. She writhes in pain, screaming in agony and horror._

_A VOICE speaks OFF SCREEN._

VOICE (O.S.) You shall suffer for your sins this way, for all eternity.

Lies. Trickery. Hatefullness. Adultery. Idolatry. Witchcraft. Ignoring God.

(Continuous repetition.)

_SLOW FADE TO BLACK SILENCE._

_46. BLACK SILENCE._

_A flaming, swirling chaos erupts across the screen._

_Out of the chaos, there emerge the forms of flames, snakes, blood stained daggers, human skulls and severed heads. These are accompanied by the sounds of heavy rushing winds, screams, hissing, rattling and the sound of gunfire._

_SUPERIMPOSE CYNTHIA'S lifeless face._

_As the VOICE repeats the litany of accusations, CYNTHIA stops screaming and writhing. She looks around herself._

_CYNTHIA finds herself facing PHYLLIS, who is crucified on the cross directly in front of her. To CYNTHIA'S left, MIGUEL is crucified. On her right, the DANCING GIRL, who was just beheaded, is also nailed to a cross, with her head on. They all hang there limp, in silent agony._

_CYNTHIA stops looking around, goes limp, and hangs there in silent agony._

_The VOICE continues repeating its accusations._

VOICES: (Chant) Coatlicue! Coatlicue! Coatlicue! (Continued)

_The chant becomes more distinct, as the swirling chaos slows down, and objects begin to solidify. Then the sight of the Aztec Temple Complex appears, and the chant abruptly stops._

_47. AZTEC TEMPLE COMPLEX. DAY_.

_View of the Great Temple, and other surrounding buildings, as they were at the time of the arrival of the Spaniards._

_CYNTHIA'S lifeless face remains SUPERIMPOSED._

_CUT TO a group of about a half dozen MAIDENS in their teens. They all look lively and cheerful; wearing simply embroidered shorts skirts, with daggers in their belts._

_The PRINCESS is one of the MAIDENS._

_CLOSE UP OF PRINCESS' FACE, with CYNTHIA'S lifeless face SUPERIMPOSED._

_CYNTHIA'S face FADES OUT._

_[Casting note: CYNTHIA and the PRINCESS, might both be portrayed by the same actress._

_CUT TO: The MAIDENS, who stand beside a tremendous display of human skulls, and preserved heads. They watch a squad of WARRIORS approach, escorting a large number of CAPTIVES._

_The PRINCESS' BETROTHED leads the WARRIORS and CAPTIVES past the MAIDENS._

BETROTHED: This is their Chieftain my Princess! I will bring you his head!

PRINCESS: I thank you for your generosity!

_The MAIDENS whisper and giggle, as the WARRIORS and CAPTIVES pass OUT OF VIEW._

1ST MAIDEN: Your betrothed is a great Warrior.

PRINCESS: Indeed; and someday he will become a great Aztec War Chief.

_The PRINCESS steps over to the display of heads._

PRINCESS: So far he has killed him, and him, and him, and him; and I don't know how many others.

_The other MAIDENS begin looking over the heads._

PRINCESS: We are planning to wed, right after the Harvest Celebration.

1ST MAIDEN: That's providing that you're not the one who will be sacrificed at our Initiation.

PRINCESS: That would take the heart out of it indeed.

_The MAIDENS laugh._

2ND MAIDEN: And you'd never know how adept your Warrior is, at the use of his other spear.

_The PRINCESS laughs with the other MAIDENS._

3RD MAIDEN: But if you are sacrificed, marriages are not arranged in Paradise. There you would marry someone you love.

PRINCESS: You shouldn't say things like that.

Some of the MAIDENS are looking over the preserved heads.

3RD MAIDEN: Will you look at the expression on his face!

_The MAIDENS all look at the head and laugh._

2ND MAIDEN: If I had a face like that I'd be glad to get killed!

_The 3RD MAIDEN imitates the expression on the face of the preserved head, while pretending to die in battle._

_The 2ND MAIDEN pretends to kill the 3RD MAIDEN with an imaginary spear._

2ND MAIDEN: "I will bring you his head my Princess!"

_The PRINCESS grabs the 2ND MAIDEN. They begin to wrestle._

_The other MAIDENS all join in, inflicting severe pain on each other, in a playful, good-natured spirit._

_The MAIDENS all end up sprawled on the ground, laughing._

PRINCESS: It's time to get on back to the Palace.

_48. PALACE. DAY._

_INT. THRONE ROOM._

_MOCTEZUMA is seated upon his throne, waited upon by all his ATTENDANTS and GUARDS._

_The PRINCESS and other MAIDENS are MOCTEZUMA'S HANDMAIDENS._

_The HANDMAIDENS wear elaborate garments, with bejeweled daggers hanging at their sides. They look prepared to kill, as they move about the throne, with a natural grace and dignity, adding their deadly beauty, to the Regal Presence._

_A PAGE ENTERS and makes obeisance._

PAGE: Oh Mighty King. Lord Moctezuma. The Spaniards have entered the Palace armed.

_EVERYONE jumps to attention._

PAGE: There are only eight of them your majesty. Their Chieftain Lord Cortez is angry and demands an audience.

MOCTEZUMA: (Calmly) He "demands" and audience?

NOBLEMAN: Pardon your Majesty; but how much of their arrogant insolence, must we Aztecs continue to endure?

MOCTEZUMA: The Spaniards are my guests; and are to continue to receive full hospitality, until I decide to have them sacrificed.

_CORTEZ enters the Throne Room unceremoniously, accompanied by six Spanish SOLDIERS, and an Indian Woman TRANSLATOR._

_The SPANIARDS walk up to the Throne, with their hands upon their sheathed weapons._

_The SPANIARDS stop in front of the Throne. Only the TRANSLATOR does obeisance._

MOCTEZUMA: My Lord Cortez; would you presume to approach your own Sovereign Carlos, who sit enthroned across the Great Water, in such an arrogant manner?

_The TRANSLATOR repeats MOCTEZUMA'S words in Spanish._

_CORTEZ speaks in Spanish, as the TRANSLATOR repeats his words._

CORTEZ: Your Majesty. I have received word that some of my men were attacked and killed, near our settlement of Vera Cruz. Those we captured said that the attack was ordered by you.

MOCTEZUMA: That sounds like the slander of a desperate coward. I promise to have this incident thoroughly investigated; and all the evil doers punished.

CORTEZ: Does that mean you shall punish yourself, King Moctezuma?

_There is a gasp of shock. The AZTECS all look highly offended._

MOCTEZUMA: If one of my subjects said such an insolent thing, he would die by the garrote. But you are my guest. Do not presume that my patience is endless. As an ordinary man, I would ignore such conduct; but as a King I cannot.

CORTEZ: Ahora. Pronto.

_The SPANIARDS encircle the Throne. Only MOCTEZUMA and the HANDMAIDS are inside the circle._

CORTEZ: Your Majesty. You are going to have to come with us.

_MOCTEZUMA and all the AZTECS look amazed._

MOCTEZUMA: When was it ever heard, that a great Prince like myself, left his own Palace voluntarily, to become a prisoner in the hands of strangers?

CORTEZ: I assure you, your Majesty. You will not be treated as a prisoner. You will be surrounded by your own household, and deal with your subjects the same as always.

MOCTEZUMA: Even if I should consent to such a degredation, my subjects never

would.

CORTEZ: Your Majesty, you are going to have to come with us.

MOCTEZUMA: If you think you need a hostage, I will give you one of my sons or daughters, and spare us this disgrace.

_CORTEZ shakes his head._

MOCTEZUMA: If not, I will give you all my handmaidens.

_CORTEZ snorts in disgust._

MOCTEZUMA: Do not laugh. They are all princesses or noblewomen. They come from very powerful families, who would be unforgiving if I allowed any harm to come to them.

SPANIARD: (Angrily) Porque debatir continuar? El captura o el garganta cortur!

MOCTEZUMA looks frightened by the SPANIARD'S voice.

MOCTEZUMA: (To TRANSLATOR) What did that man just say?

TRANSLATOR: My Father, it would be better if you go with them now. Your life is in danger.

_The AZTEC GUARDS begin to move._

TRANSLATOR: Have mercy on me my Father. I am only a translator.

_The PRINCESS and the other HANDMAIDS move. Each HANDMAID stands between a SPANIARD and MOCTEZUMA._

PRINCESS: When they draw their weapons, grab them. Force them to kill you. Give the guards enough time to get to them, before they can reach the King.

_The PRINCESS exchanges a troubled look, with her BETROTHED, who is among the GUARDS, who are cautiously advancing._

_The HANDMAIDS place their hands on their dagger handles._

_The SPANIARDS grip their weapons tightly._

_The PRINCESS watches the CAPTAIN OF THE GUARD, who is about to give her a signal._

_MOCTEZUMA stands._

_The SPANIARDS begin to draw their weapons; so do the HANDMAIDS._

MOCTEZUMA: I will be visiting with my friend Lord Cortez for a time. You will all attend me there.

_The AZTECS all look confused._

_MOCTEZUMA gets down from his Throne and walks up to CORTEZ. The SPANIARDS all stand around MOCTEZUMA at a respectful distance._

_Then MOCTEZUMA leaves with CORTEZ, his few SPANIARDS and the TRANSLATOR; followed by all his AZTEC GUARDS and ATTENDANTS._

_49. EXT. PALACE GATE. DAY_

_A Royal PROCESSION comes through the gate; with MOCTEZUMA seated upon a pallet, carried by SLAVES; and surrounded by CORTEZ and his SPANIARDS on horses. They are escorted by the PALACE GUARDS; and followed by AZTEC NOBLES and Palace ATTENDANTS, including the PRINCESS and other HANDMAIDS._

_The PROCESSION moves in a stately manner, through the Gate, and out across the Temple Complex._

_50. TEMPLE COMPLEX. DAY._

_The PROCESSION continues to move away from MOCTEZUMA'S Palace, toward another Palace, on the opposite side of the Complex._

_COMPANIES OF AZTEC WARRIORS are assembled in the Complex, ready to fight._

_MOCTEZUMA shakes his head at all the COMPANY COMMANDERS. The WARRIORS lower their spears in amazement._

_CUT TO the PRINCESS among the HANDMAIDS._

_The PRINCESS looks furious. She grips her dagger handle._

1ST HANDMAID: No Princess. He's going with them, to keep us alive.

_The PRINCESS lets go of her dagger handle._

PRINCESS: The King loves us too much.

_The PROCESSION continues on without incident, in the direction of the other Palace, which is strongly guarded by Spanish SOLDIERS, who are manning canons, and holding firearms._

_51. ATOP TEMPLE OF COATLICUE. NIGHT._

_The Idol of Coatlicue stands at the rear of the open platform. The outlines of torchlit city streets are seen in the background._

_A large sacrificial stone is set directly in front of the Idol._

_In front of the sacrificial stone, is the reclining sculpture of Chac Mool. The figure faces outward, away from the Idol, holding a bowl on its stomach._

_Two dozen MAIDENS, including the PRINCESS and the other HANDMAIDENS stand in a semicircle, outside the Chac Mool and sacrificial stone. They all stand perfectly still, facing the Idol, wearing garments of snakeskin._

_The HIGH PRIEST walks along the semicircle of MAIDENS, looking into each of their faces, as they chant._

_OFF SCREEN drums beat out a staccatto rhythm._

MAIDENS: (Chant) Coatlicue! Coatlicue! Coatlicue! (Continued)

_Four LESSER PRIESTS stand between the Sacrificial Stone and the Chac Mool, watching the HIGH PRIEST. All the PRIESTS wear black, hooded robes, splattered with dried blood._

_As the HIGH PRIEST looks at the MAIDENS, each one has a calm expression on her face. Once the HIGH PRIEST is past, each MAIDEN looks tense._

_The HIGH PRIEST turns toward the Idol._

HIGH PRIEST: Hear us oh Coatlicue!

_The drumming and chanting stop._

HIGH PRIEST: Great Earth Mother! Mother of the Moon and the Stars! Goddess of Battle! Tonight we present these new Initiates to you! Tonight we will sacrifice one of them to you, out of gratitude for all your blessings. It is a small token of gratitude indeed, to one so great as yourself; yet it is the deed which gives the greatest joy to your heart.

_The HIGH PRIEST turns away from the Idol._

HIGH PRIEST: Commence with the Sacrifice!

_The drums resume beating, and the MAIDENS resume chanting._

_The LESSER PRIESTS and the MAIDENS all watch the HIGH PRIEST, who holds a sharp obsidian dagger, pointed toward the sky._

_The HIGH PRIEST lowers the dagger, pointing it toward the line of MAIDENS. He moves it back and forth horizontally, pointing at each chanting MAIDEN. Then he stops moving._

_The HIGH PRIEST is pointing the dagger straight at the 2ND MAIDEN._

_The 2ND MAIDEN stiffens and trembles. Then she composes herself and walks forward._

_Two LESSER PRIESTS take the 2ND MAIDEN by the arms. She doesn't hold back, as they bring her to the Sacrificial Stone._

_All four LESSER PRIESTS place the 2ND MAIDEN on her back, on top of the Stone, holding down her arms and legs._

_The HIGH PRIEST stands above the 2ND MAIDEN holding the dagger, which he raises high, then brings down quickly._

_CUTAWAY TO THE MAIDENS who chant as the watch, while the 2ND MAIDEN cries out OFF SCREEN._

_CLOSE SHOT OF THE PRINCESS who continues chanting, as the 2ND MAIDEN'S cries abruptly stop._

_FRAME CHAC MOOL FIGURE. The 2ND MAIDEN'S heart lies beating in the bowl on its stomach. The dead 2ND MAIDEN remains on the Sacrificial Stone in the background._

_FULL VIEW._

_The HIGH PRIEST turns to face the Idol again._

HIGH PRIEST: Hear us again oh Coatlicue!

_The drumming and chanting stop._

HIGH PRIEST: Tonight, all our hearts should be overflowing with joy at this celebration; but they are too heavy. Our beloved King Moctezuma has been seized by these treacherous men called Spaniards. They now rule your people through his fettered voice. Aid us oh Coatlicue! Help us rescue our King and drive out these evil strangers. They are strong Great Mother. They have weapons of fire and thunder, hurling burning stones which cause great destruction. They have weapons of steel, and strange beasts called horses. No one has been able to withstand them, between the Great Water and this City.

_The HIGH PRIEST turns to the MAIDENS._

HIGH PRIEST: To overcome this unheard of evil, we must make unheard of sacrifices! More than one of you must be sacrificed tonight!

_The 3RD MAIDEN gasps. The other MAIDENS begin to tremble._

HIGH PRIEST: It will be your part in the fighting.

_The MAIDENS compose themselves stoically._

_The 3RD MAIDEN, who stands on the PRINCESS' left, begins sobbing; offending the other MAIDENS. The PRINCESS gives her a sharp jab in the ribs, and she quiets down._

_Two LESSER PRIESTS pick up the body of the dead 2ND MAIDEN, and carry her through the center of the line of MAIDENS, between the PRINCESS and the 3RD MAIDEN._

_The LESSER PRIESTS come to the edge of the platform, and roll the 2ND MAIDEN down the steps and OUT OF VIEW._

HIGH PRIEST: Wait! Coatlicue wants the sacrifices to be voluntary. Are any of you maidens willing to come forth voluntarily, to expiate this evil, and restore our beloved King Moctezuma?

_The MAIDENS all look at each other._

_The PRINCESS takes a tentative step forward._

_The HIGH PRIEST points his dagger at the PRINCESS._

_Two LESSER PRIESTS approach the PRINCESS._

_The sound of a loud hissing inhale of breath is heard._

_EVERYONE stops and looks at the IDOL._

_There is the sound of a loud hissing exhale. This is followed by regular hissing inhales and exhales._

_Then there is the sound of rattling, followed by multiple hissings and rattlings._

_The two enormous snake heads on top of the IDOL beging to move. Then its skirt of serpents comes to life._

_The IDOL steps forward._

_All the PRIESTS back away, while the MAIDENS remain standing where they are._

_The IDOL moves around the Sacrificial Stone, to the line of stationary MAIDENS._

_One of the serpents on the IDOL'S skirt, bites the MAIDEN at the end of the line. She falls dead, looking ecstatic._

HIGH PRIEST: There is no greater honor, than to be sacrificed by Coatlicue herself!

MAIDENS: (Chant) Coatlicue! Coatlicue! Coatlicue! (Continue)

_The IDOL'S necklace now consists of a genuine human skull, hands and beating hearts._

_The IDOL moves between the Chac Mool, and the line of MAIDENS. One of its enormous snake heads descends to the bowl on the Chac Mool's stomach, and swallows the heart lying there._

_The IDOL'S other head looks over all the chanting MAIDENS. Then it stops, and stares directly at the PRINCESS._

_The PRINCESS walks up within striking distance of the IDOL, where she stands trembling._

PRINCESS: I am ready to do what is necessary, to aid our King Moctezuma.

_The IDOL lowers one of its enormous heads, which opens its mouth and engulfs the stoic PRINCESS' head and shoulders, and begins to devour her, while the other MAIDENS chant._

_The PRINCESS squirms wildly. Her muffled screams come from inside the IDOL, which is swallowing her alive._

_The PRINCESS goes limp, ahd the IDOL swallows her completely. _

_The IDOL'S other head looks directly at the 3RD MAIDEN._

_The 3RD MAIDEN turns and runs toward the steps. _

_ARCHERS armed with bows and arrows stand in the dark, at the edge of the platform._

_An ARCHER shoots an arrow into the back of the fleeing 3RD MAIDEN; who falls dead, stretched out on top of the steps._

_The rest of the MAIDENS look offended and frightened._

_The sound of a very loud rattling comes from the IDOL._

HIGH PRIEST: This has offended Coatlicue! She may refuse to help us!

_The IDOL hisses loudly. Then it vomits out the PRINCESS._

_The PRINCESS is on her hands and knees, gagging for breath._

_Then the IDOL backs away from the PRINCESS and all the MAIDENS._

HIGH PRIEST: Coatlicue wants none of you!

_The IDOL returns to its usual place, resumes its sculptured posture, and becomes stone again._

HIGH PRIEST: Coatlicue will help us no more!

_The PRINCESS who has caught her breath, is now in tears._

1ST MAIDEN: My Lord! Sacrifice us all! Don't let any of us live to see the sunrise!

HIGH PRIEST: It will do no good. This act of cowardice has defiled the entire Sacrifice. I cannot continue. Depart and do what you can.


	6. Chapter 6

_52. CITY STREETS. DAY._

_AZTEC WARRIORS are battling SPANIARDS. The fighting is fierce. Many are lying dead._

_AZTEC WOMEN are standing on the roofs of buildings. The PRINCESS and the other MAIDENS are among them._

_The WOMEN use slings to hurl stones down on the SPANIARDS. Some SPANIARDS shoot back, killing some WOMEN; including a few of the MAIDENS who'd attended the Initiation. The WOMEN fighting beside them, continue raining down stones._

_53. STEPS OF THE GREAT TEMPLE. DAY._

_SPANIARDS are fighting their way up the steps, against determined AZTEC WARRIORS. The PRINCESS'BETROTHED is killed._

_54. FRONT OF SPANIARDS'S PALACE. DAY._

_AZTECS are assaulting the Palace, armed with spears, bows and arrows, and obsidian clubs. The SPANIARDS are defending it with firearms, steel weapons, and 16th century cannon._

_The WARRIORS have been joined by the fighting WOMEN, including the PRINCESS and MAIDENS, from the Initiation._

_Many are lying dead and the killing continues._

_As the fighting goes on, both AZTECS and SPANIARDS begin turning their attention to the roof of the Palace._

_The battle gradually subsides until all is quiet. EVERYONE on both sides is looking at the roof._

_MOCTEZUMA is standing upon the parapet of the roof, dressed in all his Kingly Regalia. He is surrounded by CORTEZ and a small SQUAD OF SPANIARDS._

_The AZTECS all kneel in obeisance to MOCTEZUMA._

MOCTEZUMA: Why do I see my people here in arms against the Palace of my father? Is it that you think your Sovereign a prisoner, and wish to release him? If so, you have acted rightly!

But you are mistaken! I am no prisoner! The strangers are my guests! I remain with them only from choice, and can leave them when I wish. This is unnecessary!

_There is a murmur running through the crowd. AZTEC NOBLES stand._

WARRIOR: He chooses to remain with them when so many of us have died?

MOCTEZUMA: They will depart of their own accord, if you will open a way for them!

_Many AZTECS stand, but do not move aside._

MOCTEZUMA: Return to your homes then! Lay down your arms! Show me your obedience! I have a right to it!

_All the AZTECS are standing, ready to fight._

MOCTEZUMA: The white men shall go back to their own land; and all shall be well again, here within our City!

_The NOBLEMAN calls out._

NOBLEMAN: My Lord Moctezuma! I regret to tell you this; for you are my friend, and I love you in my heart; but you no longer have any right to our obedience!

_There is a gasp of shock from the CROWD._

NOBLEMAN: A decision has been made, by the Council of Cheiftans! You have been deposed!

_The AZTECS all look shocked._

_CUTAWAY TO THE PRINCESS and the other MAIDENS, who all look deeply distressed._

NOBLEMAN: The Spaniards have bewitched you, and turned you into a coward!

_The PRINCESS puts her hands over her ears._

CUTBACK.

NOBLEMAN: Your nephew Cuahutemoc has been chosen King in your place!

_CUAHUTEMOC, who stands among the WARRIORS, looks away from MOCTEZUMA in embarrassment._

_WARRIOR begin shouting at MOCTEZUMA._

WARRIORS: Coward! Traitor! (Ad-lib)

_MOCTEZUMA is furious._

CUAHUTEMOC: Death to all the Spaniards, and to all their friends!

_The fighting begins again._

_A small group of WARRIORS hurl stones at the SPANIARDS who are guarding MOCTEZUMA._

_The SPANIARDS raise their shields to protect MOCTEZUMA; but one of the stones strikes him, and MOCTEZUMA goes down._

_The fighting stops again._

_EVERYONE looks distressed as the SPANIARDS carry MOCTEZUMA away from the parapet and OUT OF VIEW._

_The fighting resumes and more are killed._

_A SPANIARD runs out of the Palace._

SPANIARD: Moctezuma es Muerto!

_The SPANIARDS begin repeating the message to each other, looking distressed._

_The AZTECS are also repeating the message._

AZTECS: Moctezuma is dead! Moctezuma is dead!

_CUTAWAY TO THE PRINCESS and the other MAIDENS, who are standing away from the battle, weeping._

PRINCESS: This would not have happened, if the High Priest had sacrificed us all; like we asked.

1ST HANDMAID: He couldn't. The Sacrifices were defiled by that coward.

PRINCESS: None of us standing here were cowards.

55. _FOOT OF THE STEPS OF THE TEMPLE OF COATLICUE. DAY._

_The PRINCESS and the surviving MAIDENS, who'd attended the Initiation, are among two dozen MAIDENS, standing at the foot of the steps._

_Some bodies lie IN VIEW._

_OFF SCREEN the sound of battle continues._

_The HIGH PRIEST is coming down the steps, accompanied by about two dozen LESSER PRIESTS; all armed for battle._

_When the PRIESTS reach the foot of the steps, the PRINCESS speaks._

PRINCESS: My Lord High Priest.

_The PRIESTS all halt._

PRINCESS: Our King, my Lord Moctezuma is dead. We come to respectfully request that you complete the Sacrifices, to prevent something even worse from happening.

HIGH PRIEST: That is not possible. The sacrifices were defiled by a cowardly act.

PRINCESS: My Lord. Half of us have died in battle. There are no cowards standing here. We have all volunteered to die.

HIGH PRIET: That might still anger Coatlicue. Wait until the Victory Celebration. Then you may all do the Decapitation Dance, without causing trouble.

PRINCESS: My Lord. If we are not Sacrificed now, there my be no victory to celebrate.

1ST HANDMAID: She is right my Lord.

HIGH PRIEST: Even so; there is not enough time for the ceremony now.

LESSER PRIEST: My Lord. Would the Arrow Sacrifice be sufficient?

HIGH PRIEST: Only at times of urgent necessity.

Prepare for the Arrow Sacrifice!

_The MAIDENS form into a line facing the Temple. The PRINCESS and 1ST HANDMAID stand together at one end._

_The LESSER PRIESTS stand in a line facing the MAIDENS, armed with bows and arrows._

_HIGH PRIEST: If any of you maidens are unwilling to die now, you may depart._

_All the MAIDENS stay._

_The HIGH PRIEST stands behind the LESSER PRIESTS at the foot of the Temple steps._

HIGH PRIEST: Begin.

_Each LESSER PRIEST aims his arrow at the breasts of the MAIDEN facing him, and draws his bow tight._

MAIDENS: (Chant) Coatlicue! Coatlicue! Coatlicue! (Continue)

_The LESSER PRIESTS shoot the arrows. Each MAIDEN is struck in the breast with an arrow. The MAIDENS all cry out in a chorus of screams, and fall to the ground, except for the PRINCESS and 1ST HANDMAID._

_The PRINCESS and 1ST HANDMAID remain standing with the arrows stuck deep in their breasts. Those arrows pop out of them._

_The MAIDENS are all lying dead, with the arrows sticking out of their breasts; except for the PRINCESS and 1ST HANDMAID, who stand unhurt. The arrows that were shot into them, now lie broken at their feet._

_The PRINCESS, 1ST HANDMAID, HIGH PRIEST and LESSER PRIESTS all look very uneasy._

HIGH PRIEST: It is enough for now.

_The LESSER PRIESTS all hurry away toward the battle, and OUT OF VIEW._

_The HIGH PRIEST comes over to the PRINCESS and 1ST HANDMAID._

HIGH PRIEST: Coatlicue has decided to postpone your Sacrifices, until after the Spaniards are defeated. Now come with me. I have an important task for both of you.

_The HIGH PRIEST leads the PRINCESS and 1ST HANDMAID away from the Temple and the dead MAIDENS._

_56. CITY WATERFRONT. NIGHT._

_The PRINCESS and 1ST HANDMAID are seated in a canoe. The HIGH PRIEST stands on the wharf beside them, holding a large sealed ceramic jar._

_HIGH PRIEST: There are very important sacred writings inside this jar. I want you to hide it someplace safe, until the Spaniards are defeated._

_The HIGH PRIEST hands the jar to the PRINCESS who places it on the bottom of the canoe. Then she and the 1ST HANDMAID cover the jar with a heavy blanket._

_The PRINCESS and 1ST HANDMAID paddle off into the dark, while the HIGH PRIEST watches anxiously._

_57. LAKE. NIGHT._

_The PRINCESS and 1ST HANDMAID are in the canoe, paddling swiftly._

_The outlines of the torchlit City are in the background._

1ST HANDMAID: By the time we return, the Spaniards might be defeated.

PRINCESS: That is very possible.

1ST HANDMAID: If they are, then no more sacrifices will be needed.

PRINCESS: The Decapitation Dance will still need to be performed.

1ST HANDMAID: In my father's house, we have a Mayan slave girl. She is very beautiful and pious. I will appoint her to be my substitute. Substitutions are always permitted at joyous celebrations.

PRINCESS: You have nothing to fear. At our Initiation, I was swallowed alive by Coatlicue. I was dying inside her belly; and I saw Paradise. I was about to enter, when the defilement occured. Paradise is beautiful. You have nothing to fear.

1ST HANDMAID: But I have just been betrothed.

58._ HIGH ON THE SIDE OF A RUGGED CLIFF. DAY._

_The PRINCESS and 1ST HANDMAID are kneeling on a narrow ledge, beside a niche in the side of the cliff. The sealed jar is beside the PRINCESS._

_The PRINCESS places the jar inside the niche._

PRINCESS: Remember. No one is supposed to know about this.

_Then with great effort, the PRINCESS and 1ST HANDMAID both attempt to push a large stone slab in front of the niche._

1ST HANDMAID: Does that mean that if someone asks where we've been, we can't even say "Tepoztlan"?

_As soon as they have the niche hidden, the 1ST HANDMAID looses her footing. She falls screaming off the ledge, and OUT OF VIEW._

_OFF SCREEN THE 1ST HANDMAID'S scream diminishes._

PRINCESS: Thank you Coatlicue. She was never able to keep a secret. I can always keep a secret, and a vow. I will not choose a substitute.

59. LAKE. NIGHT.

_The torchlit City is in the background._

_The PRINCESS is alone in her canoe, paddling back to the City._

_There is the sound of a loud, distant, booming drum._

_The PRINCESS paddles more swiftly._

_60. CAUSEWAY. NIGHT._

_The SPANIARDS are fleeing along the Causeway, fighting AZTECS. PRIESTS and FIGHTING WOMEN have joined the WARRIORS. Many lie dead._

_Many canoes with WARRIORS come up to the side of the Causeway. The WARRIORS jump out of the canoes, rush up the side of the Causeway, and join in the battle._

_The PRINCESS arrives in her canoe, with a few WARRIORS._

WARRIOR: They tried to sneak out of the City by night; but they were seen. Now they will all die.

PRINCESS: Good. I would like to kill one of them myself.

_As soon as her canoe reaches the Causeway, the PRINCESS jumps out with her WARRIORS. She takes the dagger out of her belt, and climbs with the WARRIORS up to the battle._

_A SPANIARD armed with a sword, fights a WARRIOR armed with a spear. The SPANIARD kills the WARRIOR._

_As the WARRIOR falls, the PRINCESS jumps onto the SPANIARD, knocking him down and cutting his throat._

_The HIGH PRIEST is fighting nearby. He sees the PRINCESS._

HIGH PRIEST: Princess! Are the writings safely hidden?

PRINCESS: Yes! Only I know where they are!

_CORTEZ is now IN VIEW, fleeing with the SPANIARDS along the Causeway, holding a sword and a pistol._

_The PRINCESS raises her spear and rushes toward CORTEZ._

_CORTEZ shoots the PRINCESS through the heart as he rushes by._

_The PRINCESS cries out and falls dead, among some other corpses._

_CLOSE UP OF PRINCESS'S LIFELESS FACE. Her eyes are open._

_PRINCESS' P.O.V. The sights and sounds of battle, become a swirling chaos, which solidifies into the Framework of Crosses._

_61. FRAMEWORK OF CROSSES. _

_The PRINCESS is crucified on a cross, along with the 1ST, 2ND and 3RD HANDMAIDS. They are surrounded above, below, and all around them, by crucifed AZTECS; including WARRIORS, NOBLEMEN, PRIESTS, other MAIDENS, and SPANISH SOLDIERS. Each one hangs on a separate cross, in silent agony._

_Then the living IDOL of Coatlicue COMES INTO VIEW, moving among the crosses. Both it's heads, keep biting PEOPLE off crosses one by one, and swallowing them, as it moves along slowly._

_Now the IDOL comes up to the PRINCESS. It bites the 2ND and 3RD HANDMAIDS off their crosses, and swallows them both._

_PRINCESS' P.O.V._

_One of the IDOL'S heads looks into the center of the FRAME, flicking it's forked tongue, while its other head devours the squirming and squealing 1ST HANDMAID, in the background._

_The IDOL speaks._

IDOL: Do not be afraid. I will return to my faithful people. Your task will be completed. The sacred writings will be restored. The Sacrifices will be completed. The Decapitation Dance will be performed; and I will defend my faithful people.

_The IDOL'S head opens its mouth, and swallows the FRAME._

_62. BLACK SILENCE. LONG HOLD._

_Dawning light begins to shine._

_The crowing of a rooster is heard._

_The outlines of the jungle, and the village of Tlantepic appear._

_The light increases until the Plaza of Tlantepic is clearly seen through CYNTHIA'S P.O.V. again._

_63. TLANTEPIC VILLAGE PLAZA. DAWN._

_The Plaza is deserted, except for the Idol, which is now made of stone, and the headless bodies of the DANCING GIRL and PHYLLIS; and the complete bodies of MIGUEL and CYNTHIA. _

_The stake with PHYLLIS' head remains where it was._

_OFF SCREEN a rooster is crowing._

_CYNTHIA takes a deep breath, groans and sits up, looking confused. She looks herself over. She is unwounded._

VOICE: (Off Screen) You are alive.

_CYNTHIA looks around. All she sees are the bodies._

VOICE: You are the Prophet of Coatlicue. Your task is not yet done.

_CYNTHIA tries to see where the VOICE is coming from._

VOICE: Coatlicue would not let you die like that.

_The VOICE is coming from PHYLLIS' staked head._

_CYNTHIA jumps to her feet._

CYNTHIA: Phyllis!

PHYLLIS' HEAD: You were chosen as the Substitute; who will fulfill the vow that the Princess made. You must do the Decapitation Dance in her place.

_CYNTHIA is backing away. She comes over to the tables outside the Shop, where her handbag and halter are lying._

_CYNTHIA picks up her handbag and halter. Her foot touches something. She looks down._

_CYNTHIA'S foot has tapped the head of the DANCING GIRL, who has an ecstatic grin on her face._

_CYNTHIA sees her pistol on the ground. She picks it up, checks that it's loaded, and places it inside her handbag._

PHYLLIS' HEAD: Cynthia!

CYNTHIA: You're not Phyllis. You're a demon.

PHYLLIS' HEAD: You are the Prophet of Coatlicue. You will not be able to betray her people.

_CYNTHIA runs out of the Plaza, and hurries down the deserted street, going back, in the direction she came from._

_64. TLANTEPIC VILLAGE PLAZA. MORNING._

_A sharpened wooden stake has been driven into the ground, beside PHYLLIS' head, directly in front of the Idol._

_JORGE sets the DANCING GIRL'S head on top of the stake. He takes a step back, looking uneasy._

_The sound of rattling comes from the IDOL. It does not come to life, but the DANCING GIRL'S head speaks clearly._

DANCING GIRL: I am not the sacrifice who Coatlicue chose. She chose the one who we call "La Profeta". She must do the Decapitation Dance of her own free will, or Coatlicue will be unable to defend us, and more of us must dance again.

JORGE: But she canot do the dance.

_JORGE looks around at the untouched bodies._

DANCING GIRL: She still lives.

65. ROAD THROUGH JUNGLE. DAY.

_CYNTHIA stands beside the kilometer marker. She is fully clothed again._

_JORGE COMES INTO VIEW along the trail, and moves within a few steps of CYNTHIA._

_CYNTHIA takes the pistol out of her handbag and JORGE halts._

CYNTHIA: Stay back! You performed two sacrifices! Isn't that enough?

JORGE: Not until you do the Dance.

CYNTHIA: Are you serious?

JORGE: If you refuse, Coatlicue will destroy us all.

CYNTHIA: You brought it all on yourselves.

_A bus comes around a bend in the road. CYNTHIA puts her pistol away. The bus drives up and stops in front of her._

JORGE: Cynthia. It's either your life or many. It must be of your own free will. Have mercy on us.

_CYNTHIA climbs aboard the bus, wich drives away._

_66. INT. BUS._

_CYNTHIA is seated beside a window. She looks back at JORGE._

CYNTHIA: Mercy?


	7. Chapter 7

67. OAXACA. DAY.

MAIN PLAZA. SIDEWALK RESTAURANT.

_CYNTHIA sits alone at a table, having a beer and looking troubled._

CYNTHIA: Mercy?

_MIKE comes INTO VIEW, and walks up to CYNTHIA._

MIKE: Hi Cynthia.

CYNTHIA: Hello Mike.

MIKE: So where's your friend Phyllis?

CYNTHIA: She's no longer here.

MIKE: That's too bad. She wasn't where she said she'd be yesterday. She stood me up.

CYNTHIA: She has a three year old child. She's planning to remarry her ex-husband.

MIKE: Too bad. I thought Phyllis was somebody special.

CYNTHIA: You weren't wrong.

68. STREET IN OAXACA. DAY.

_CYNTHIA is walking along, passing a Church._

CYNTHIA: Coatlicue is not my God.

_CYNTHIA goes over to the Church, and enters the building._

69. INT. CHURCH.

_CYNTHIA walks toward the front. She sits in one of the pews, and begins to pray silently. Then CYNTHIA begins to cry._

_The PADRE comes INTO VIEW. He sees CYNTHIA crying, and comes over to her._

PADRE: Buenas tardes my daughter. Would you like to tell me what's troubling you?

CYNTHIA: Oh. Padre. I really don't know if you'd be able to help me with this.

PADRE: I will try. A lot of people make the mistake of thinking that the Church is here, just to spoil everybody's fun. The reality is, that when life stops being fun, the Church is here.

CYNTHIA: So who's having fun? Padre. I don't know how to explain this. There's lots of...things...that I don't want anyone to know about. People's lives are in danger.

PADRE: You don't have to tell me any details, that will endanger anybody.

CYNTHIA: I have just come from...a place...where people are going to be killed. If I were there, only I would be killed. As long as I stay away, others will die.

_The PADRE is thoughtfully quiet for a few moments._

PADRE: I've never had to deal with this type of problem before.

CYNTHIA: One of them told me, that if I stayed and got killed, it would be an act of mercy.

PADRE: The Lord Jesus Christ did say, "Greater love has no man, than he who would lay down his life for his friends."

CYNTHIA: That's just the point Padre. They aren't my friends. I dislike them intensely. The Devil has me trapped.

PADRE: No he does not. The Devil has no more power over you than you allow him to have. Resist the Devil and he will flee from you.

CYNTHIA: But this is too powerful. Whatever decision I make, the Devil is going to win.

PADRE: No he is not. If you are a woman of Christ, all you have to say is;

"Satan. In the Name of the Lord Jesus Christ, I command you to go."

Then he will go.

CYNTHIA: Padre. I have been dealing in serious lies and trickery. It's causing great harm to the people I told you about. I've been hateful. I've committed adultery. I've also been involved in idolatry and witchcraft. I've completely ignored God, so how can I command Satan to do anything in the Name of Christ?

PADRE: Accept Christ as Savior, and all those sins will be forgiven.

CYNTHIA: Padre, what would you do in my situation.

PADRE: I don't know what I would do myself. Ask what the Lord Jesus Christ

would do.

CYNTHIA looks up at the Altar, at the crucifix. She turns away.

CYNTHIA: No!

PADRE: That might not be necessary. The Lord prayed; "Father, if it be possible, do not make me drink from this cup."

CYNTHIA: I don't want to drink from it either.

PADRE: My daughter. See if there is anything you can do, that will keep both yourself and the others alive.

CYNTHIA: What if there isn't?

PADRE: Then the Lord will give you all the courage you need, when you need it.

70. OAXACA. NIGHT.

NIGHTCLUB. INT.

_CYNTHIA and MIKE are seated at a table, with two other COUPLES, watching a performance of a "Fiesta Mexicana"._

_There are SINGERS, DANCERS, MARIMBAS and MARIACHIS. The Show is lively. The AUDIENCE looks entertained, except CYNTHIA._

_At one point, the DANCERS perform a Machete Dance. The MALE DANCERS clash machetes over the heads of the WOMEN DANCERS. CYNTHIA looks terrified._

MIKE: What are we doing, sitting at ringside?

_When the Dance ends, the AUDIENCE applauds. CYNTHIA doesn't._

MIKE: They're missing something. It would have been a perfect ending, if on the final note, they chopped their heads off.

CYNTHIA: Mike. That's really gross.

MIKE: Simply reinstating an ancient Aztec tradition; and a very popular one.

MAN AT TABLE: Yes; and a few of us would have some very unique souveniers to take home.

WOMAN AT TABLE: I think you'd have a little trouble, getting it through customs.

CYNTHIA: Do all of you mind? Those jokes are in poor taste, and not really funny at all.

71. TERRACE OF THE HOTEL VICTORIA. NIGHT.

_MIKE and CYNTHIA are alone on the terrace._

MIKE: I know you don't want to talk about what's bothering you; but you could at least try to cheer up.

CYNTHIA: I'm sorry Mike. I just can't.

MIKE takes CYNTHIA in his arms. CYNTHIA stiffens.

CYNTHIA: I'm sorry Mike. No.

MIKE: I thought it might help cheer you up.

CYNTHIA: Thank you but not tonight.

OFF SCREEN _there is the resonating sound of a drum, beating out the same staccatto rhythm, that was heard at the ceremony; along with VOICES chanting the name of Coatlicue._

VOICES: Coatlicue! Coatlicue! Coatlicue! (Continue)

_CYNTHIA looks off into the darkness with terror._

_MIKE looks like he doesn't hear anything._

_CYNTHIA tries to control her trembling._

_The drumming and chanting build up in intensity, until the sound of a loud, wet chop is heard. The drumming and chanting abruptly cease._

CYNTHIA: Mike. I don't want to be alone tonight.

_MIKE and CYNTHIA hold each other tightly._

CYNTHIA: I'm young and alive, and in Mexico, and I want to enjoy it.

_MIKE and CYNTHIA kiss._

72. STREETS OF OAXACA. DAWN.

_A taxi moves through the streets. CYNTHIA is the passenger._

_The taxi drives past the Church. CYNTHIA sees the PADRE standing out front. She turns the other way._

_The taxi continues on its way through the Town._

_73. OAXACA AIRPORT. DAY._

_A Mexicana Jet roars down the runway and takes off, heading north._

_74. MEXICO CITY AIRPORT. DAY._

_The Mexican Jet lands._

_INT. TERMINAL CONCOURSE._

_CYNTHIA is carrying her bags. She walks up to the AeroMexico counter, and speaks to the CLERK._

CYNTHIA: When can I get the next flight back to New York?

_The CLERK checks it out._

CLERK: I'm sorry Miss, but today's flight is completely booked; but there are still a few vacancies on tomorrow's flight.

CYNTHIA: Tomorrow's flight? What time?

CLERK: 4:30 in the afternoon.

CYNTHIA: 4:30?

CLERK: That is the flight with the vacancies.

75. _MEXICO CITY. DAY._

_CYNTHIA gets into an Airport Limousine, which drives out of the parking lot, and heads for Downtown._

_CYNTHIA looks listlessly at the vitality of the people they pass, as the Limo heads Downtown._

_The Limo drives through the Zocalo. CYNTHIA looks up the street at the excavation of the Aztec Temple, and sighs._

_They drive past the Cathedral and CYNTHIA looks uneasy._

_76. DOWNTOWN MEXICO CITY LUNCHROOM. DAY._

_INT. CYNTHIA is seated at a table, having lunch._

_ZAMORA enters the Lunchroom and walks up to the table._

ZAMORA: Buenas tardes Miss Jacobsen.

CYNTHIA: Hola Senor Zamora.

ZAMORA: May I join you?

CYNTHIA: Senor Zamora. I want nothing more to do with you, or anyone else, who's involved with Coatlicue.

ZAMORA: I'm glad to see you're still alive.

CYNTHIA: So am I; and I'd like to remain that way until I'm at least 85, so leave me alone.

ZAMORA: No one here in Mexico City will harm you. We just want your help, so no one else will be harmed either.

CYNTHIA: Why should I believe that?

ZAMORA: You are a reporter. We want you to tell our side of the story.

CYNTHIA: That's what the others said.

ZAMORA: You should know by now, that we were the ones, who were telling the truth.

CYNTHIA: I don't feel any safer with you, than I did with the others; and I don't trust Coatlicue at all; But I do want that story.

77. BRUJA'S HOUSE. AFTERNOON.

INT. _CYNTHIA is seated in an easy chair with her handbag in her lap._

_The BRUJA, ZAMORA and BELTRAN are watching her._

BELTRAN: Did you find the sacred writings?

CYNTHIA: No. There were never any sacred writings. Ther was only Coatlicue.

ZAMORA: Where is your friend Phyllis?

CYNTHIA: She's no longer here.

ZAMORA: Has she gone home?

CYNTHIA: Yes.

BRUJA: Why did you stay, if she went?

CYNTHIA: Well...

BRUJA: She was sacrificed, wasn't she?

CYNTHIA: Her heart was ripped out; just like the ancient Aztecs.

BRUJA: But she didn't do the Decapitation Dance, did she?

CYNTHIA: No Senora. Some of their people did.

_BELTRAN, ZAMORA and the BRUJA look displeased._

CYNTHIA: A beautiful girl, who couldn't have been more than 18, had her head chopped off.

BELTRAN: Well so much for Coatlicue.

_BELTRAN gets ready to leave, and heads for the door._

ZAMORA: No. Wait Senor Beltran. This woman is the Chosen One. As long as she remains alive, the Sacrifices won't be completed.

_BELTRAN stays._

CYNTHIA: What's that supposed to mean? What're you people up to?

BELTRAN: Miss Jacobsen, exactly where is Coatlicue?

CYNTHIA: No. As long as I've been involved with this Coatlicue business, everyone's been lying to me. Even Coatlicue tricked me. Before I tell you anything, I want to know the truth. All of it.

_BELTRAN, ZAMORA and the BRUJA look at each other, and nod._

ZAMORA: At the time of the Spanish Conquest, Coatlicue was hidden until the Spaniards were driven out.

CYNTHIA: Spain was driven out in 1821.

ZAMORA: Yes, and the long awaited Decapitation Dance was performed then; But Coatlicue did not return. It was performed again, when the French were driven out, in 1867. It was also performed when the Dictator Diaz was overthrown in 1910; and at the end of World War 1 and World War 2.

_Since then, there have been no victories to celebrate, and Coatlicue has not returned. The Spaniards weren't completely driven out._

CYNTHIA: In what way?

BRUJA: We still have La Iglesia Catolica.

CYNTHIA: The Catholic Church?

ZAMORA: It is a Spanish Religion, not a Mexican one. Coatlicue has returned to help us destroy it.

CYNTHIA: You're gonna try to destroy the Catholic Church?

BELTRAN: Yes; and your Norte-Americano Liberals will call us heros.

CYNTHIA: I wouldn't be too sure of that.

BELTRAN: The Liberals with money already do.

BELTRAN picks up a copy of the Manhattan Times.

BELTRAN: The two things which Norte-Americano Liberals hate most, are their own Country, and the Catholic Church. It says here that television and movie stars are going to be raising money for us; so is your Liberal National Federation of Christian Churches. Your Senator Keegan, who is running for President, has declared his support for us.

CYNTHIA: Do you think that will last, if you start attacking Churches?

BELTRAN: We call ourselves, "The Mexican People's Army". That makes everyone think we're Anti-American Marxists; So all those knee jerking Liberals will give us their unquestioning support.

CYNTHIA: Then you're only pretending to be Marxists?

BELTRAN: We have no doubt, that your Liberal Federation of Christian Churches, will make excuses for us, after we bomb the Cathedral this afternoon.

_The BRUJA is standing beside a shelf. She picks up a pistol, which is rigged with a silencer; and points it at CYNTHIA._

BELTRAN: We have told you the truth Miss Jacobsen. Now you tell us where they are hiding Coatlicue.

CYNTHIA: No.

The BRUJA cocks the pistol.

CYNTHIA: I'm not gonna help you commit any atrocities.

BRUJA: I don't understand why Coatlicue chose this Norte-Americana puta.

CYNTHIA: I don't like it either; but I am the Prophet of Coatlicue. I am unable to betray her people. If you kill me, I won't be able to do the Decapitation Dance.

BELTRAN: It's only a matter of time, until we find out where Coatlicue is. Then all we have to do is bring her your head.

(To BRUJA) Wait until we're gone.

_BELTRAN and ZAMORA leave through the door._

_EXT. BELTRAN and ZAMORA come out of the house, get in a car and drive away._

_INT. CYNTHIA is still seated in the chair, with the BRUJA pointing a pistol at her._

CYNTHIA: Senora. Por Favor.

BRUJA: You are a brave woman. We Aztecs believe that brave women enter Paradise immediately; So this should be a wonderful moment for you.

_The BRUJA pulls the trigger. The pistol doesn't fire._

_CYNTHIA grabs her handbag, as she throws herself to the floor._

_The BRUJA pulls the trigger again. This time the pistol fires but misses._

_CYNTHIA grabs her own pistol out of her handbag. She shoots back, killing the BRUJA._

_CYNTHIA goes to the door, opens it and rushes out, slamming it behind herself._

_78. EXT. BRUJA'S STREET. DAY._

_CYNTHIA rushes out of the house, and down the street, past a few people, who are startled at the sight of her pistol._

_CYNTHIA puts the pistol back in her handbag. She goes around a corner, and sees that she is near a Subway entrance._

_OFF SCREEN there is the sound of a Police siren._

_CYNTHIA runs down into the Subway._

_79. INT. SUBWAY PLATFORM._

_CYNTHIA keeps looking around nervously, as many PEOPLE crowd onto the platform._

_A train pulls in, and CYNTHIA gets on board._

_The train pulls away from the platform just as 2 POLICE OFFICERS come INTO VIEW on the platform._

_80. INT. SUBWAY TRAIN._

_CYNTHIA stands holding onto a railing, looking much calmer._

CYNTHIA: (Whisper) The Cathedral?

_81. INT. HIDALGO SUBWAY STATION._

_The train pulls in and stops. CYNTHIA gets off. She hurries away from the platform, out to the Station Concourse. A station directory map is posted on the wall._

_CYNTHIA checks the map._

CYNTHIA: Three stops.

_CYNTHIA hurries down to the subway line, heading toward the Zocalo._

_CYNTHIA stands on the thickly crowded platform, waiting for the train. When it arrives, CYNTHIA has to force her way on board._

_82. INT. SUBWAY TRAIN._

_CYNTHIA has to stand holding onto an overhead railing, crushed tightly in the crowd._

_83. ZOCALO STATION._

_The train stops at the platform. The doors open, and the crowd erupts out, with CYNTHIA among them._

_CYNTHIA hurries upstairs to the station concourse, where she sees two COPS and turns her face away from them._

_CYNTHIA hurries to the exit, and up the stairs._

_84. EXT. ZOCALO. DAY._

_CYNTHIA comes up out of the subway entrance, which stands just outside the fence around the Cathedral._

_CYNTHIA looks up at the tremendous building; then along the fence._

_CYNTHIA sees ZAMORA enter one of the gates in the fence, carrying a large flightbag. ZAMORA looks around. CYNTHIA looks away from him._

_ZAMORA enters the Cathedral._

_CYNTHIA hurries along the fence, and through the nearest gate. She walks over to the doors, and enters the Cathedral._

_85. INT. CATHEDRAL._

_The Cathedral is enormous, and very complex inside; divided into many sections. CYNTHIA can only see a small portion of of the building, from wherever she stands. She walks slowly, looking into all the alcoves and stations of the cross. She doesn't see ZAMORA._

_CYNTHIA is near the altar, looking distressed._

CYNTHIA: (Softly) Lord Jesus. This is your House, and these are your people. Help me, help them.

_Across the other side of the Cathedral, CYNTHIA sees ZAMORA leaving one of the alcoves and heading toward the door. He no longer carries the flightbag._

_CYNTHIA is about to run, but she holds herself back, and walks to the alcove._

_When CYNTHIA reaches the alcove, she looks around and sees the flightbag tucked in a corner. CYNTHIA carefully picks it up. She is about to unzip the bag. Then she stops._

_CYNTHIA steps out of the alcove, walks to the entrance of the Cathedral, and goes out the door._

_86. EXT. CATHEDRAL._

_CYNTHIA comes outside, holding the flightbag, and looking around nervously._

_CYNTHIA hurries out through the gate, and turns left. There is a fountain nearby, on the east side of the Cathedral._

_CYNTHIA turns the corner of the fence, and sees ZAMORA standing about halfway between her and the fountain._

_ZAMORA holds a small, remote control transmitter. Then ZAMORA looks around and sees CYNTHIA._

_CYNTHIA turns and runs, with ZAMORA following her._

_CYNTHIA runs back around the corner of the fence, and runs down into the subway._

_As CYNTHIA disappears from view, ZAMORA presses the button on the transmitter._

_CUT TO CYNTHIA who is hurrying down the subway steps._

_There is a loud click inside the flightbag._

_CYNTHIA gasps._

_There is a ticking inside the flightbag._

_CUTBACK TO ZAMORA who heads down into the subway._

_87. INT. ZOCALO STATION PLATFORM._

_CYNTHIA stands near the entrance to the platform, still holding the ticking flightbag. The crowd is thick around her._

_ZAMORA enters the platform, and sees CYNTHIA a few feet away._

_CYNTHIA steps up to ZAMORA, holding the flightbag._

CYNTHIA: It's ticking. Are you a brave man? Are you ready to join the Bruja in Paradise?

ZAMORA: Get away from me.

CYNTHIA: Not while it's ticking. Turn it off.

ZAMORA: I don't know how to. Just leave it here.

CYNTHIA: It'll kill all these people.

ZAMORA: Well get it out of the subway.

CYNTHIA: How much time is there?

ZAMORA: Who knows?

_A train pulls in and stops. ZAMORA rushes aboard, just as the doors are closing. Then the train pulls out, with ZAMORA aboard; leaving CYNTHIA on the platform with the ticking flightbag._

_CYNTHIA goes out the exit, up the steps to the concourse, runs through the concourse, and up the steps, hugging the flightbag._

_As CYNTHIA reaches the top step, at ground level, she trips and falls forward, on top of the flightbag._

_There is a loud bang, inside the flightbag; but no explosion._

_CYNTHIA gets up unharmed, while PASSERSBY watch._

_CYNTHIA looks up at the Cathedral._

CYNTHIA: I'm in your hands now, aren't I?


	8. Chapter 8

88. SMALL DOWNTOWN HOTEL. NIGHT.

INT. HOTEL ROOM.

_CYNTHIA is speaking on the telephone._

CYNTHIA: Mr. Stratton. This is Cynthia Jacobsen.

CUTAWAY TO STRATTON'S OFFICE IN NEW YORK. NIGHT.

_STRATTON is seated at his desk, speaking on the phone. _

STRATTON: Nice to finally hear from you Cynthia. Have you and Phyllis found the connection between the C.I.A. and the weirdo cult yet?

INTERCUTS BETWEEN CYNTHIA AND STRATTON.

CYNTHIA: No. Listen Mr. Stratton. Phyllis has been killed.

STRATTON: God no! Was she getting too close?

CYNTHIA: No. There's no connection with the C.I.A. It's that religious cult. They used her as a human sacrifice.

STRATTON: You got to be kidding.

CYNTHIA: And I have no idea why I'm still alive; but that seems to be a temporary situation.

STRATTON: Have you gone to the Police?

CYNTHIA: I can't go to the Police. They'll arrest me for murder.

STRATTON: What!

CYNTHIA: It was self defense. A member of the Mexican People's Army. They're planning to launch a campaign of terrorism, against the Catholic Church.

STRATTON: That's gonna make things awkward. Senator Keegan has come out very strongly against the C.I.A. in this matter.

CYNTHIA: So write whatever you want Mr. Stratton. Invent whatever you have to, to get Senator Keegan in the White House. Just get me the hell out of here.

STRATTON: I'm not aiding any fugitive from justice.

CYNTHIA: Mr. Stratton?

STRATTON: I sent you to find out what the C.I.A.'s up to; but instead you killed a member of an organization, whose goals are endorsed by this Paper, and everyone else with any real intelligence.

CYNTHIA: Mr. Stratton. Didn't you hear me? I said it was self defense.

_STRATTON hangs up._

_CYNTHIA hangs up her phone._

_Then the sound of staccatto druming, and VOICES chanting the name of Coatlicue comes through the window. _

VOICES: Coatlicue! Coatlicue! Coatlicue! (Continue)

_The drumming and chanting increase in intensity, until it ends with the sound of a loud wet chop._

_Then only the sound of traffic comes through the open window._

_There is a cross on the wall over the bed. CYNTHIA turns and looks at it._

CYNTHIA: If it be at all possible, please don't make me drink from that cup.

89. MEXICO CITY AIRPORT. MORNING.

INT. TERMINAL CONCOURSE.

_CYNTHIA stands at a ticket counter, while the CLERK checks-in her luggage and works on her ticket. She wears a wig and dark glasses._

_CYNTHIA looks around. She sees POLICE OFFICERS walking through the Concourse. She also sees ZAMORA standing nearby._

_CYNTHIA looks away from ZAMORA. The CLERK hands CYNTHIA her boarding pass._

_CYNTHIA gets on line for the checkpoint. She removes her dark glasses._

_MIKE is walking through the Terminal Concourse, and happens to be looking in CYNTHIA'S direction._

MIKE: Cynthia?

_CYNTHIA stiffens, and ZAMORA looks at MIKE._

MIKE: Hey Cynthia Jacobsen!

_ZAMORA walks up beside MIKE as CYNTHIA hurries away, and OUT OF VIEW._

ZAMORA: It looks like your friend didn't hear you.

MIKE: Yeah. Too bad. I wanted to say good-bye. We had a really great time the other night in Oaxaca.

ZAMORA: So you were in Oaxaca?

MIKE: Oh yeah. Beautiful. Hermosa. Something happened that made her very unhappy; but I (Grin) cheered her up.

ZAMORA: (Leer) Oh! Make good foqifoqi eh?

MIKE: Muy bueno foqifoqi. She took a trip to a village called Tlantepic. When she came back, something was wrong.

ZAMORA: (Smiling) Tlantepic?

90. INT. TERMINAL CORRIDOR GOING PAST THE BOARDING LOUNGES.

_CYNTHIA walks through the corridor, until she comes to a boarding lounge; with a sign announcing its next flight's destination as Oaxaca._

_CYNTHIA checks in here._

91. EXT. AIRPORT. DAY.

_A Mexicana Airline Jet roars down the runway and takes off._

_92. EXT. The Mexicana Airline Jet flies southward, over the mountains._

INT. AIRPLANE.

_CYNTHIA is in a window seat. An American WOMAN sits beside her._

WOMAN: So how long are you planning to stay in Oaxaca?

CYNTHIA: Just overnight. There's a certain village, where I have to deal with some very unpleasant business.

WOMAN: Oh, that's a shame.

CYNTHIA: If I don't, things'll get thousands of times even more unpleasant. I'm going to see if I can deal with it, without getting myself or anyone else hurt.

WOMAN: I bet you'd rather have a man waiting for you there.

CYNTHIA: As a matter of fact, there is a man who wants me to dance with him. If I do, I could end up in Paradise.

WOMAN: That sounds beautiful.

CYNTHIA: Some people might think it is.

WOMAN: You're lucky. In spite of the trouble, you've got a lot to live for.

_CYNTHIA looks out the window, thoughtful at the WOMAN'S words_

_93. OAXACA AIRPORT. DAY._

_The Mexicana Jet lands on the runway._

_94. EXT. OAXACA AIRPORT TERMINAL. DAY._

_The Mexicana Jet stands outside the Terminal PASSENGERS are descending the boarding steps._

_CYNTHIA comes down the steps, looking at all the beauty around her, and looks troubled._

_95. A Taxi drives away from the Airport, with CYNTHIA inside, and heads for Oaxaca._

_96. TRAVELOGUE VIEWS OF OAXACA. DAY._

_CYNTHIA walks through the picturesque town, seeing everything, while looking troubled._

_97. OAXACA TOWN PLAZA. EVENING._

_CYNTHIA strolls through the Plaza. She sees a young COUPLE kissing._

CYNTHIA: (Whisper) I do have everything to live for. Who needs these people of Coatlicue?

98. HOTEL VICTORIA. NIGHT.

INT. HOTEL RESTAURANT.

_CYNTHIA comes to the Restaurant entrance._

_The MAITRE D. comes up to CYNTHIA._

MAITRE D.: Would you like a table Miss?

CYNTHIA: I'm sorry, but suddenly I can't eat anything.

MAITRE D.: (Grin) Oh! The old Montezuma's revenge eh?

CYNTHIA: That's a perfect description.

MAITRE D.: Don't worry. The Farmacia is still open. You can get the pills there. Just take the pills, get a good night sleep, and in the morning you'll be okay.

CYNTHIA: That's a good idea. Gracias.

99. OAXACA. NIGHT.

INT. HOTEL ROOM. DARK.

_CYNTHIA is in bed alone and asleep._

_CLOSE UP of CYNTHIA'S sleeping head._

_SUPERIMPOSE SWIRLING CHAOS._

_CYNTHIA'S head FADES._

_100. DREAM/VISION._

_FRAMEWORK OF CROSSES._

_CYNTHIA is nailed to a cross, with spikes through her wrists and ankles. She hangs there unmoving, in silent agony._

_PHYLLIS is crucified on the cross directly in front of CYNTHIA._

_The BRUJA is crucified on a cross beside PHYLLIS._

_To CYNTHIA'S left, MIGUEL is crucified. On her right, the DANCING GIRL, who was beheaded, is also nailed to a cross._

_Three other DANCING GIRLS, who'd performed at the Fiesta, are also crucified with them._

_On crosses around them, the AZTEC PRINCESS, HANDMAIDS, WARRIORS, SPANIARDS, etc. are all crucified._

_They all hang there unmoving, in silent agony._

PHYLLIS: Cynthia. You are the Prophet of Coatlicue. You can not allow this to happen to any more of her people.

CUTBACK TO

101. INT. CYNTHIA'S HOTEL ROOM. DARK.

_CYNTHIA wakes up._

CYNTHIA: No! Forget it!

102. INT. HOTEL RESTAURANT. LATE AT NIGHT.

_The Restaurant is closed. The MAITRE D. is going over paperwork, when CYNTHIA walks up to him._

CYNTHIA: Hola.

MAITRE D.: Buenas noches. I'm sorry. We're closed. I guess you're feeling better now, aren't you?

CYNTHIA: Yes, and I'm really hungry. Isn't there any place I can get something to eat, at all?

MAITRE D.: Oh yes. There are a few places in the center of town, that are open all night.

CYNTHIA: Oh gracias.

103. OAXACA. MAIN PLAZA. NIGHT.

_CYNTHIA is seated at a table, in a sidewalk restaurant, finshing a meal._

_The sound of staccatto drumming and VOICES chanting the name of Coatlicue begins. _

VOICES: Coatlicue! Coatlicue! Coatlicue!(Continue)

_CYNTHIA seems to be the only one who hears the VOICES, and she looks annoyed._

_CYNTHIA finishes her meal and gets up. A WAITER comes over and CYNTHIA pays him._

_CYNTHIA walks away from the sidewalk restaurant, and goes to a corner of the Plaza, where she stands in the dark._

CYNTHIA: I said no, so forget it.

_CYNTHIA sees ZAMORA and BELTRAN strolling through the Plaza. CYNTHIA is in the dark, so they don't see her._

_104. CYNTHIA hurries away and passes the Cathedral of Oaxaca._

_OFF SCREEN the drumming and chanting end, with a loud, wet chop._

_CYNTHIA faces the Cathedral._

CYNTHIA: If it be at all possible, please don't make me drink from this cup.


	9. Chapter 9

105. DIRT ROAD THROUGH JUNGLE. DAY.

_A 2nd Class Bus drives up and stops beside the kilometer marker._

_CYNTHIA gets off the bus, wearing shorts and a halter. She carries only a handbag._

_The Bus continues on its way, and goes OUT OF VIEW._

_CYNTHIA enters the jungle along the trail._

_106. TLANTEPIC. DAY._

_CYNTHIA walks along the street, heading for the village Plaza. VILLAGERS come to their doorways. The recognize CYNTHIA, look frightened and duck back inside._

_107. TLANTEPIC VILLAGE PLAZA. DAY._

_The stone IDOL of Coatlicue remains stading in front of the crumbling abandoned Church._

_The heads of PHYLLIS, the DANCING GIRL and three other GIRLS who'd performed the Dance, and now set atop waist high wooden stakes; set in a line in front of the IDOL; all facing out toward the village._

_JORGE, ESTABAN and YOLANDA are seated at a table outside the small shop._

_CYNTHIA COMES INTO VIEW. She walks up to the IDOL, where she stands trembling in front of the staring heads._

_JORGE, YOLANDA and ESTABAN all watch CYNTHIA nervously._

_A few VILLAGERS come into the Plaza; keeping a great distance between themselves and CYNTHIA._

_CYNTHIA comes over to the tables, in front of the small shop._

_ESTABAN looks like he is about to run, but he stays put._

_CYNTHIA walks up to JORGE, ESTABAN and YOLANDA._

ESTABAN: No hey possible. I know for a fact that I killed you.

CYNTHIA: That's true. I was dead all night. But Hell was too monotonous, so I came back.

_ESTABAN cries out, jumps up and runs out of the Plaza._

JORGE: We are all very much ashamed, about the way we treated you the other night. Now Coatlicue is forcing us to repeat our shame, because we did not force you to do the Dance.

CYNTHIA: I know. That's why I didn't stay dead. Listen. Senor Zamora and Senor Beltran know where Coatlicue is. I saw them in Oaxaca last night. They could be on their way here right now.

JORGE: So let them come. They're Coatlicue's people too.

CYNTHIA: No. You can't let them near Coatlicue. They want to use her power to help them destroy the Catholic Churches.

JORGE: But that is not necessary. If people are given a free choice between Jesus and Coatlicue, most people will choose Coatlicue.

CYNTHIA: They're not interested in any free choices. They plan to start a revolution, that will tear this nation apart.

JORGE: Isn't that what the Newspaper you work for wants too?

CYNTHIA: I am no longer employed by the Manhattan Times. Two days ago I was able to stop them from setting off a bomb in the Mexico City Cathedral. The next time they could succeed, and who knows how many times after that?

JORGE: Do you expect us to stop them from using Coatlicue's power?

CYNTHIA: Do you want to blow up Churches and kill thousands of people?

JORGE: We don't want anyone else to die; But Coatlicue won't help us unless you perform the Decapitation Dance of your own free will. Are you ready to do that now?

CYNTHIA: Only if there's no other way to prevent the killing of thousands.

JORGE: If Beltran's on his way here, there's no time for anything else. It must be your own free will. You can leave Mexico to Beltran, or you can take your chance along with Yolanda, and the other girls.

CYNTHIA: Jorge. I wouldn't have any chance at all.

YOLANDA: Don't be so sure. We are the faithful worshiper of Coatlicue. You are not.

107. TLANTEPIC VILLAGE PLAZA. DAY.

_The VILLAGERS are standing facing the IDOL, with the five staked heads staring back at them._

_The VILLAGERS are all bare above the waist; so are CYNTHIA, YOLANDA, and the two surviving DANCING GIRLS. They all wear the brightly colored, ankle length skirts._

_The DRUMMER beats out the same staccatto rhythm._

VILLAGERS: (Chant) Coatlicue! Coatlicue! Coatlicue! (Continued)

_CYNTHIA, YOLANDA, and the two girls walk forward between the chanting VILLAGERS. JORGE walks among them, holding his machete. They all kneel before the line of staked heads._

_JORGE holds the machete forward, as he did before._

_Then CYNTHIA, YOLANDA, the GIRLS and JORGE all rise._

_The drumming and chanting stops._

YOLANDA: Comenzar!

_The tape player is again on the table outside the shop. A TEENAGE GIRL turns it on. "La Bamba" is played again._

_CYNTHIA, YOLANDA, and the two GIRLS dance vigorously in a circle around JORGE; as he places the machete blade on all of their shoulders._

_JORGE draws the machete back sideways._

_The TEENAGE GIRL is swaying in time to the music. She accidently knocks the tape player over, turning it off._

_EVERYBODY stops._

_CYNTHIA faces the IDOL._

CYNTHIA: You are not my God! Lord Jesus! If it be possible, don't make me drink from this cup!

_JORGE slashes the machete against CYNTHIA'S neck. The blade breaks off at the handle, and goes flying OUT OF THE FRAME._

_OFF SCREEN a loud wet chop is heard, followed by the sound of a body falling._

_CUTAWAY TO the TEENAGE GIRL beside the table. A severed head rolls along the ground toward her, and stops at her feet._

_The TEENAGE GIRL reaches down and picks up the head. She holds the head of YOLANDA._

_CUTBACK TO CYNTHIA, who turns to face JORGE; who is staring at the bladeless machete handle. CYNTHIA is unharmed._

_YOLANDA'S headless body lies stretched out on the ground. JORGE comes over to YOLANDA'S body. So does CYNTHIA and the two surviving DANCING GIRLS. The rest of the VILLAGERS also gather around._

DANCING GIRL: Hey basta?

_JORGE nods._

JORGE: (To CYNTHIA) The dancing is done.

BELTRAN: (OFF SCREEN) Then why is she still alive?

_BELTRAN and ZAMORA stand in the crowd of VILLAGERS, who back away from them. BELTRAN carries an attache case._

_BELTRAN and ZAMORA come up to JORGE and CYNTHIA._

ZAMORA: I saw you go through the checkpoint at the Aeropuerto. I thought you went home.

JORGE: All the sacrifices have been completed.

BELTRAN: Then why is she still alive?

JORGE: She did the Dance with the others; but Coatlicue chose the woman I loved instead.

CYNTHIA: No. My Lord Jesus saved me. Coatlicue only gives death to those who worship her, and they all end up in Hell.

JORGE: No. Coatlicue is now the defender of Tlantepic. She will not be helping them tear Mexico to pieces.

BELTRAN: Coatlicue is also our Goddess. The woman you love has been sacrificed for us too.

BELTRAN looks around at the poor village, and the poorly dressed VILLAGERS.

BELTRAN: If Coatlicue wishes to live here now, so be it. This is where the final defeat of the Spanish Religion will begin. This is where we will sacrifice our enemies.

I will build a Temple to Coatlicue here and restore her worship. This dirty village will be the center from where we wilL spread the worship of Coatlicue throughout the world; and where the whole world will bring its endless sacrifices.

JORGE: No. There has been enough death already. We want no more. Tlantepic has too much shame now. We want no more.

BELTRAN: Then maybe you are not fit to be Coatlicue's people.

_BELTRAN opens the attache case, and takes out an ancient looking, carefully tied scroll._

BELTRAN: Here are the sacred writings. Whoever posses this has Authority over Coatlicue's people.

JORGE: That is a forgery. There are no sacred writings.

_BELTRAN tosses the attache case aside._

BELTRAN: (To ZAMORA) The time has come to establish our authority.

_BELTRAN grabs CYNTHIA by the arm. ZAMORA takes a pistol from a holster on his belt. He grabs CYNTHIA'S other arm._

_Then BELTRAN and ZAMORA force CYNTHIA toward the IDOL._

JORGE: Cuidado! Don't step behind the heads. That ground is consecrated; and Coatlicue has rejected her!

ZAMORA: No. You have rejected Coatlicue. She has been saving Senorita Jacobsen for us.

_BELTRAN and ZAMORA bring CYNTHIA between the line of staked heads and the IDOL._

CYNTHIA: Satan! In the Name of the Lord Jesus Christ, I command you to go!

STAKED HEADS: (Chant) Coatlicue! Coatlicue! Coatlicue! (Continue)

_BELTRAN and ZAMORA both look astonished._

_The IDOL comes to life, hissing and rattling._

_The IDOL lowers one of its enormous heads, which opens its mouth and engulfs CYNTHIA'S head and shoulders, and begins to devour her, while the STAKED HEADS continue chanting._

_BELTRAN and ZAMORA hurry away from the ground behind the HEADS, but they remain standing just outside the IDOL'S reach._

_CYNTHIA squirms wildly. Her muffled screams come from inside the IDOL which is swallowing her alive. She goes limp and silent. The IDOL swallows her completely._

_The IDOL resumes its sculptured posture and becomes stone again._

_The HEADS stop chanting._

_ZAMORA and BELTRAN step back between the IDOL and the HEADS, keeping their eyes on the IDOL._

_ZAMORA opens the scroll, which contains Aztec-like glyphic writing. He holds it up for everyone to see._

ZAMORA: Coatlicue has accepted her chosen Sacrifice! She has accepted us as her High Priests, and as your Padrons!

_BELTRAN points to the scroll._

BELTRAN: This is the sign of Authority, which Coatlicue has granted to us! Since you are not fit to be her people, she will not be defending you, or anyone else who rejects her!

_JORGE steps INTO THE FRAME, holding YOLANDA'S head high._

JORGE: We have not rejected Coatlicue!

_The serpents on the IDOL'S skirt begin hissing. They spring forward, biting BELTRAN and ZAMORA, who fall dead._

_JORGE raises YOLANDA'S head before the IDOL._

JORGE: You alone are our Padron Coatlicue! What will you have us do?

_The HEADS continue chanting._

_CYNTHIA'S voice echoes inside the IDOL._

CYNTHIA'S VOICE: Lord Jesus!

_The HEADS are silent._

CYNTHIA'S VOICE: Lord Jesus!

_The VILLAGERS bless themselves._

CYNTHIA'S VOICE: Lord Jesus! Have mercy on all these people!

_The sounds of crumbling and cracking come from the IDOL. The IDOL collapses into a pile of rubble, which buries the bodies of BELTRAN and ZAMORA, and all the staked HEADS._

_CYNTHIA lies in the rubble, covered with dust, but uninjured. She gets up slowly, as the VILLAGERS bless themselves._

_The VILLAGERS gather around the rubble and stare at CYNTHIA, as she moves away from the rubble and stands among them._

_JORGE faces the old abandoned Church. He tosses YOLANDA'S head aside, then he goes down on his knees and blesses himself._

_CYNTHIA and the two DANCING GIRLS come over beside JORGE. _

_They also kneel and pray._

_ESTABAN COMES INTO VIEW. He kneels beside CYNTHIA, and prays along with the VILLAGERS._

END OF SCREENPLAY


End file.
